Petzold, as he said after the projection in Transit, developed the idea that he developed together with his friend and collaborators. Haruna Farockupdated the novel Anne Seghers and mixed with a little Casablanca cult.
The story of a book proposal about a political refugee who wanted to go to America, Petzold moved to modern Marseille. Parallels and refugee problems have been shocking since the era of Nazism, which seems to be the method of coping with history. As he says, he hates historical films, "old cars, old clothes and mustaches", as if they were taken from the museum. From World War II to the present day, Seghers's story has been relieved when he turned his story into modern times.
Petzold met metaphorically at Phoenix (2014) to confront Nazism and the Germans, as he did before, again taking over his German dagger. Nino Hoss. We played the victim of a gathering camp with medium face. After plastic reconstruction, he returns to society, to someone he does not know, and even to someone who can betray the Nazis.
Phoenix, a metaphor for postwar reconstruction, was a special challenge for Petzold. He says, "in it, it's a ruined, harsh voice, but an open window didn't want to use the footage of the city's noise and sound, which means that after the catastrophic life, the soul is a soul surrounded by life." If everything around us is terrible, fear will be blurred, "the director thinks.
Petzold also presents Inner Peace (2000), Spirits (2005), Yella (2007), Jerichow (2008) and Barbara (2012) and Liffe. Barbara and Yelli discuss the old East and West Germany, but they understand them differently than some of their colleagues. The West is not a life-filled life, but a one and only transcendence, a landscape that is not spiritually emptied by capital. Even before his birth, the director's parents then abandoned the German Democratic Republic (NDR) and went to the West, but he says: I don't know where that feeling comes from. "
Many film critics have seldom explored the commonalities of the very common German directors who have been working for the last 20 years. Some of these were founded by Thomas Arslan, Angela Schanelec, Christoph Hochhäusler and Valeska Grisebach and the Berlin School, although some of them had nothing to do with Berlin. They were not born there, they did not live there and did not work there.
Finally, it was concluded that at least the majority of the members of the Berlin school were socialized through long staff and limited dialogue, and themes from recent past at the content level were addressed in their own way. The creation of political questions is not clearly linked to the creation of political films. Petzold definitely signed this part of the Berlin school.