Cinema Releases - Miroirs No. 3

'Christian Petzold delivers once again with this deviously structured psychodrama. Every frame comes drenched in the cool, clear waters of ambiguity. This is a work that is mellifluous, melodious and mysterious in equal measure.  A Sphinx-like Beer, once again, seems to connect with her director on a level which transcends the purely professional...
As the story of Miroirs No. 3 unfolds with an intractable and wholly compelling internal logic Petzold gravitates towards a twist...
All of which is to say, no-one, absolutely no-one is doing it ike Petzold.'
David Jenkins, Little White Lies

'An elegant demonstration of what can be achieved with limited ingredients in the hands of an inventive creative team and a first-rate cast. Although it’s a wisp of a thing, it delivers rich rewards. And while this enigmatic puzzle of a picture is not a comedy as such, there’s gentle humour to be glimpsed between the accumulated baggage of Betty and her family, and their new house guest.’
Wendy Ide, Screen

’Compelling.’ Petzold is invariably a probing observer of his characters’ psyches, aided here by four excellent actors. The film is as spare and elegant as we have come to expect from Petzold... and Beer is never less than transfixing.’
David Rooney, The Hollywood Reporter

‘Christian Petzold‘s gossamer latest film. 'Mirors No. 3,' is as compact as a novella, as ephemeral in its emotion, and as delicate in register as one of the Chopin or Ravel pieces that float through it.’
Ryan Lattanzio, IndieWire

‘No-one, absolutely no-one is doing it like Petzold. 
This is a work that is mellifluous, melodious and mysterious in equal measure. As usual, Petzold draws in a number of artistic inspirations and touchpoints, then riffs around them without ever erring into anything as déclassé as homage. A Sphinx-like Beer, once again, seems to connect with her director on a level which transcends the purely professional, and through her economic yet forceful use of body language and expression, she makes certain that the film adheres perfectly to Petzold’s immaculate calculations.'
David Jenkins, Little White Lies

Gorgeous, drifting study of a woman taken in by a stranger after a car crash has faint echos of Vertigo, but is more concerned with unnerving family dynamics than romance. Suspense melts away into golden summer days in Christian Petzold’s low-key psychodrama. There are clues and there is a reveal, but more importantly, Petzold tries out an algebra of relationships that is new for him, namely that ‘3+1=2+2’ and that a single look of recognition has the power to save a life.’
Savina Petkova, Sight & Sound

‘An Elegant Sliver of a Psychodrama. 
A humid little psychological drama of displacement, replacement and fresh plum cake, in which balmy days mix with unhealed trauma to briefly make precarious new lives and identities possible. This 86-minute puzzle piece is distinguished by his trademark pleasures of texture and tone — and pushes his ongoing collaboration with star Paula Beer into ever more enigmatic territory.’
Guy Lodge, Variety

‘Using only diegetic music and shot in a crisp, unfussy style, with a preponderance of soft, natural light, the film is as spare and elegant as we have come to expect from Petzold. Its emotional heft feels softer than usual, but even his lesser films can be compelling and Beer is never less than transfixing.’
David Rooney, The Hollywood Reporter