User Reviews

"Gespenster" is a German movie from over 10 years ago written and directed by Christian Petzold, one of Germany's most known filmmakers these days. Today he is mostly known for his collaborations with Nina Hoss, but she does not appear in this one here. Benno Fürmann, however, does and you could call him Petzold's muse back then as he also appeared in many of his works. Here, however, Fürmann's role is fairly small, which is fine for me as I am not the greatest fan of him as an actor. The screenplay is also by Petzold in collaboration with the late Harun Farocki, an author Petzold worked with on many occasions. So there are some familiar factors in this work. This does not really apply though to the lead actresses I believe. Julia Hummer plays the main character and the co-lead is Sabine Timoteo. And their chemistry is pretty good, which is one reason why I enjoyed the watch. But the main reason is Julia Hummer's quietly convincing turn as a young woman looking to be loved, first by another girl, then by a woman who appears to be her mother.

And Hummer really does an outstanding job and she delivers all one can ask for in terms of how the character was written. Speaking about writing, Petzold and Farocki did a good job here too. The characters all seem realistic in my opinion and their interactions make totally sense. One of Petzold's big strengths is always that his character have great shades. They are all flawed, but do not tend to one side (good or bad) too much, but still many director attempt that and succeed, but then it seems just for the sake of it. However, here it feels really raw and spot-on and this makes me happy. The only aspect I did not like here was the plot twist at the very end, which seemed slightly unrealistic to me. I wish they could have kept the approach they gave the film all the time before that. No need to go out on a shocking note. I do prefer realistic endings over happy endings if these happy endings seem nonsensical and forced, but here an actual mother-daughter reunion would have been the best way to close it I think. This is maybe also the reason why I gave it "only" a ***/***** and not a ****/*****. I was pretty close to the higher rating. But this does not change my overall recommendation for "Ghosts". This was a good watch and Hummer's performance alone makes it truly worth the watch. It makes me kinda sad that she has faded pretty much completely out of the spotlight a decade later. But at least we have the greatness she left us here. Go watch it.

This was just another marvelous film of the Berlin Festival. But unlike "Yes", by Sally Potter, which I had seen some days before, where after leaving the cinema I felt a strong desire of wishing to embrace the whole world and was just happy to be alive, this time quite the opposite thing happened: there was something that dragged me down, and the air suddenly felt cold and hard to breathe. It was as if, all of a sudden, there was nothing left, all hope, all future had been taken away to a dead place.

Nina's life seemed to be dismal and locked, but then, one lovely day, there appears that kind of luminosity that opens up the horizon and makes her believe in the fulfillment of her dreams. There was nobody at her side but suddenly she finds a companion, just out of nothing, someone who was able to share the most hidden feelings of her life. That person was Toni, a vagabond girl who does not seem to have any roots, just like herself.

But the film's title is "Ghosts", and ghosts appear and disappear as they wish, there is no way to retain them… Ghosts also represent the hidden fantasies of people, strange ideas that occupy your mind and are only perceived by yourself, hiding away from all other people. Françoise, a French woman, is a victim of such ghosts. She once lost her child daughter in Berlin, who apparently had been robbed from her in a supermarket, in just one moment of inattentiveness. Now time has passed, and Françoise is back in Berlin, still looking for the missing child.

Nina could be that child, after all she has got that same scar at her ankle and the heart-shaped birthmark between her shoulder blades which seems to prove her true identity.

And Nina adopts that idea, after all she is not only in desperate need of a companion, she also longs for a mother. But in the end she is empty-handed, Toni has disappeared with a man, and her supposed mum turns out to be a sick woman. "Marie is dead," concludes Françoise's husband, and the statement could not be more disillusioning. Nina is just a "niña", a girl without name, there is no hope for any divine fulfillment. There is no Marie in this world to accompany our lonely lives. Therefore, in the end, we see Nina all alone, about to walk along the road that has opened up before her, into a future that seems joyless and uncertain.

"Gespenster" (2005) forms, together with "Yella" (2007), and "Jerichow" (2008), the Gespenster-trilogy of director Christian Petzold, doubtless one of the creme-De-la-creme German movie directors of our time.

Roughly, "Gespenster" tells the story of a French woman whose daughter had been kidnapped as a 3 years old child while the mother turned around her head for 1 minute in Berlin - and has never been seen ever. Since then, the mother keeps traveling to Berlin whenever there is a possibility and searches, by aid of time-dilated photography, for girls of the age of approximately the present age of her age. As we hear later in the movie, the mother was already a lot of times convinced that she had found her daughter Marie. However, this time, when she meets Nina, everything comes quite different.

The movie does not bring solutions, not even part-solutions, and insofar, it is rather disappointing. We are not getting equipped either in order to decide if the mother is really insane or not, if her actual daughter is still alive or not. Most disappointing is the end. After what we have witnessed in the movie, it is an imposition for the watcher that he is let alone as the auteur leaves Nina alone. The simple walking away symbolizing that nothing has changed, can be a strong effect of dramaturgy (f.ex. in "Umberto D."), but in "Gespenster", it is displaced.

Since critics have been suggesting Freudian motives in this movie, let me give my own attempt: Why is it that similar persons do not know one another, especially not the persons that another similar person knows? This is quite an insane question, agreed, from the standpoint of Aristotelian logic, according to which the notion of the individual holds. The individual is such a person that does not share any of its defining characteristics with anyone else. So, the Aristotelian answer to my question is: They do not know one another because their similarity is by pure change. Everybody who is not insane, believes that. However, what about the case if these similar persons share other similarities which can hardly be by change, e.g. scarfs on their left under ankle or a heart-shaped birthmark under their right shoulder-blade? This is the metaphysical context out of which this movie is made, although I am not sure whether even the director has realized that. Despite our modern, Aristotelian world, the superstition, conserved in the mythologies of people around the globe that similar people also share parts of their individuality, and that individuality, therefore, is not something erratic, but rather diffusional, so that the borders between persons are open, such and similar believes build a strong backbone of irrational-ism despite our otherwise strongly rational thinking - a source of Gespenster of the most interesting kind.