The title Berlin Syndrome is very suggestive in this feature about a young female tourist who finds herself trapped after a casual sexual encounter in Berlin. How will the reference to the ‘Stockholm syndrome’, that idea that a captive becomes literally captivated by their gaoler, become manifest in the narrative? Not perhaps as you might expect. This is a film adapted from a critically-praised novel by Melanie Joosten and directed by Cate Shortland, who made the wonderful Lore in 2012, a film about a not totally dissimilar young woman in Germany in 1945. I was a little surprised that the script was by a man – Shaun Grant. This does feel like a female-centred narrative and Ms Shortland has several female collaborators on her team. In his dismissal of the film, our old enemy Peter Bradshaw suggests that this is a ‘lite’ version of Room (2015) or the Austrian film Michael (2011) (which I haven’t seen). These are not really sensible comparisons since both of these films feature children as prisoners and even though Room does feature a woman prisoner as well, it isn’t a film about the relationship between a gaoler and his captive(s) since we learn little about him.
Clare (Teresa Palmer) is a young woman from Brisbane who has come to Berlin on a whim to photograph the architecture of the GDR and hoping for a life-changing experience – but not the kind of experience she walks into. Soon after she arrives she meets Andi (Max Riemelt) an English teacher in a local Gymnasium. They spend a day together and she decides not to go on to Dresden but to spend the night in his apartment. Bad move. The sex is good but when Andi goes to work, she finds that she can’t leave his apartment in an old abandoned apartment block. At first she wasn’t worried to be in this old building, but now she realises that there is no one else about. Even when Andi returns she still thinks it might be a mistake, surely he didn’t mean to lock her in?
Peter Bradshaw’s other condemnation is that this is just a familiar genre narrative with nothing new to say and that Clare is obviously the ‘final girl’ in the horror film right from the beginning of the narrative. It’s true that it does increasingly become a ‘psycho-sexual thriller’, especially in its resolution but also at various moments along the way. The idea of a man holding a woman captive is by no means unfamiliar and as other reviewers have pointed out there are some parallels here with William Wyler’s film of the John Fowles book The Collector (1969). However, the important difference here is Clare’s sexual desire and her vulnerability as a tourist in a strange city. I think it’s quite legitimate to read the film in terms of Clare’s self-discovery – of her resourcefulness and strength as well as her sexuality. It’s also interesting that on the two occasions when she sees a glimmer of hope for an escape, it’s when another woman appears – but I won’t spoil the narrative. Andi is the other central character and we get to see him at school, in his classroom and in the staffroom. We also see him in the company of his father. There is just enough of a hint about his extreme obsession with control peeping out from behind his ‘normality’ as a schoolteacher.
I was impressed by both lead actors. I didn’t think I’d seen them before but researching the film later I discovered that both are very experienced and Teresa Palmer has a mainstream Hollywood career that I’ve missed entirely, though I did see The Grudge 2 (2006), where she played alongside Sarah Michelle Gellar. She looks and acts younger than her age in Berlin Syndrome and I did think about how she reminded me of Kristen Stewart (again, something I later discovered is a common reaction). Max Riemelt was in The Wave (Germany 2008), a film I’ve watched several times and I’m surprised that I didn’t recognise him. I’m not sure I ‘enjoyed’ this film and I found Clare’s predicament distressing. I was surprised to find myself thinking about it so much afterwards. The script is carefully written and there are some nice touches that again I didn’t really think about until afterwards – such as Clare’s interest in a book of Klimmt reproductions that makes a re-appearance and Andi’s choice of James Baldwin’s Giovanni’s Room as a text for his English class. I also hadn’t thought too much about Clare’s journey from Brisbane to Berlin – an example of that ‘cultural cringe’ that seems still to be relevant in Australian narratives about travelling to Europe to gain experiences beyond Australian suburbia. The thoughts of the women working on the film about travelling alone in Europe are worth reading in the Production Notes. The interesting aspect of the production itself is that it was shot on location in Berlin and then Andi’s apartment was recreated on a soundstage in Melbourne. It’s a seamless fit and this is an impressive production. The film has not been that well reviewed in the UK. I think in some cases it has been dismissed without due attention and I’m glad I saw it. I’ll keep looking for Cate Shortland’s films. If you missed this in cinemas in the UK it’s on Curzon online.