Cult Review
Senior Film Conservator

Honestly? Probably not, unless you’re deep into vintage European cinema and have a real soft spot for movies where the plot moves at the speed of a snail in a headwind. If you like high-octane excitement, steer clear. You’ll be bored to tears within fifteen minutes.
But if you’re the kind of person who enjoys picking apart old framing techniques or just wants to see how people acted when they were strictly directed to be very polite, then maybe. It’s a bit of a relic.
The whole thing has this stifling, claustrophobic energy. It’s like the set designers were trying to see how much furniture they could pack into a single frame before the actors ran out of room to walk. Some of the long shots are weirdly static. It feels less like a movie and more like someone filmed a play from the back row of a theater where the seats were slightly broken.
There’s this one scene with Ilse Petri where she just stares at a curtain for what feels like an eternity. I checked my watch twice. It wasn’t a moment of deep, profound acting; it was just a moment where the camera forgot to cut.
There’s a strange stiffness to how the actors interact. Nobody ever seems to just be in a room. They’re all performing, even when they’re supposed to be having a quiet heart-to-heart. It reminded me a bit of the awkwardness in Man and Wife, though this one lacks that film's specific charm.
I can’t tell if the director wanted it to feel like a pressure cooker or if they just didn't know where to put the cameras. Sometimes it works. Often, it just feels like the characters are waiting for a bus that’s never going to show up.
Anyway. It’s not the worst thing I’ve watched this month. That title still goes to something else entirely. But it’s definitely one of those movies you’ll forget the second the credits roll. 📽️

IMDb 6.4
1919