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Critics reviews

TRANSIT

Christian Petzold Germany, 2018
If Transit satirized today’s European art-film tendencies, it might have achieved the zeitgeist shock of Brady Corbet’s Vox Lux, but, instead, this movie proves that film culture at large has reached a stage where moviemakers and reviewers devote themselves to maundering and following social trends.
March 13, 2019
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Such characterizations don’t account for the heady, scintillating experience of actually viewing the thing. As it covers terrain that’s particularly, if not exclusively intellectual, Transit sets the mind aflame.
March 1, 2019
Transit continues Petzold’s oblique yet shrewd examinations of the upheavals of the twentieth century (particularly those in his home country) and their lingering effects in the twenty-first.
March 1, 2019
Rogowski plays Georg with a quiet watchfulness and hidden grace. His whole body seems to have absorbed the habits of a fugitive: being at once alert and inconspicuous, making do with little, and saying whatever the present occasion demands.
March 1, 2019
It’s effectively two different films, depending on what you think you’re seeing. If you regard it as a story about World War Two manifestly filmed in the modern day, then you become increasingly conscious of the film as a film, as a fable recounted without historical set dressing. . . . The fascination of Transit is the way it keeps us uncertain what kind of film we’re watching, and uncertain of characters’ motives.
March 1, 2019
The New York Times
By turns intimate and expansive, “Transit” is a thrilling, at times harrowing labyrinth of a movie. Petzold draws from both the traditional European art film and the mainstream commercial cinema without embracing their orthodoxies.
February 28, 2019
Petzold risks minimizing the specific horrors of World War II, but Transit is a unique animal, like a hybrid between speculative science fiction and a drama of 21st-century displacement. He's made a film about refugees, premised on society's never-ending potential for fascism.
February 28, 2019
Narrative time enters a loop that seems to frustrate any notion of transit, and this is pronounced in the film by Petzold’s masterful manipulation of setting.
February 22, 2019
This is the intellectual-emotional trade-off I’m pondering with regard to Transit, which functions so efficiently as its own oppressive system—closing off escape avenues and catharsis points for its characters like the self-activating flood compartments on a punctured ocean liner—that it arguably cancels itself out.
October 11, 2018
The result is a film that is neither properly "period" nor contemporary, but located instead in some kind of uncanny time out of linear-historical time, a singular aspect that renders Petzold's sociopolitical allegory both eerie and impactful.
September 30, 2018
The overlaying of two different era somehow works, and indeed it has a chilling undertow given the recent recrudescence of fascism in Europe. But the film’s real power stems from Petzold’s skills as a stylist and storyteller, which are on constant display in this suspenseful, romantic drama.
September 29, 2018
If the parallels between the people streaming out of Europe in the ’40s and those streaming into it today are obvious, the decision to let them hang in the air, percolate, and find new, unexpected expression is not, particularly in light of the flood of images and words that have tried to capture the current “crisis.”
September 1, 2018