Berlin Syndrome (Cate Shortland, 2018)

Frayed by an unspoken past, Clare (Teresa Palmer) is in Berlin as part of a delayed OE. Taken in by a charming English teacher Andi (Max Riemelt), she thinks she is in enjoying a passionate fling.

But the apartment door is locked and her SIM card is missing...

I am always a fan of movies set in enclosed spaces: Die Hard, Rear Window, Knife in the Water, Clerks, Roadgames... I could rattle off so many movies from multiple genres 

Taut, intimate and quietly unsettling, Berlin Syndrome is a terrific thriller from director Cate Shortland.

Since this movie involves the kidnapping of a woman (who happens to be a Hollywood starlet), I was always conscious of another version of this movie which could have been sensationalised and predictable. Shortland's approach to the film is more understated and economical, with a focus on observing these characters as their enforced intimacy develops.

Rather than lay out the villains intentions, as the story progresses the script slowly drops out information about her captor as he goes about his life (work and spending time with his father). He is a monster seeking to be human. Andi is no mastermind, but a man child who wants to possess Clare completely, including documenting her captivity with Polaroids, and keeping a trove of the photos in a locked room that he bans her from entering.

To call back the last thriller I reviewed, The Stepfather, Berlin Syndrome builds suspense out of its character dynamics, with split focus on both characters’ perspectives. There are no real 'set pieces' to speak of.

Unlike The Stepfather, Berlin Syndrome avoids tying itself to an obvious plot trajectory, and allows its characters to grow and breath. It results in a more believable, fleshed-out and unpredictable film that never feels like it is exploiting its premise.

I cannot say I will be putting it on any time soon, but Berlin Syndrome is a fine character piece with great performances.

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