Undine
In a way, “Undine” almost reminds me of the original “Cat People,” which is also about a woman with deep anxiety over love rooting in supernatural myth. I think the earlier film is more successful in exploring its themes as “Undine” is, but Christian Petzold’s film is unique and compelling in its own right. It begins with a tense scene between lovers that ends with a misunderstanding, an accident, and a recovery and possible new love. Sometimes, however, building a mystery in a slow-burn can make a film meander if that mystery isn’t fully revealed by the end; that’s part of why “Undine” doesn’t succeed in the same way “Cat People” does, either.
The opening scenes are really strong. Undine (Paula Beer) is meeting a lover for coffee, and he (Jacob Matschenz) is telling her that there’s someone else. That’s never an easy conversation to have, but especially when someone is telling you that you need to tell them you love them, or they will die. Undine is not threatening Johannes, however; in fact, she seems understanding of the situation, and concerned for his well being. He begs him to stay while she goes back to work across the street, but when she comes back, he is gone. As she is looking for him, she sees a diver figurine at the bottom of the restaurant’s aquarium. A man walks in and observes the aquarium as well before it shatters; glass injures Undine, as the man (Christoph, played by Franz Rogowski) tries to help. As she recovers, they form a bond; he is a deep sea diver who works on fixing turbines.
I’m not going to say more about “Undine” expect to say that they way Johannes and Christoph remain connected in Undine’s life after this opening is compelling, but not entirely emotionally connecting. Undine is a historian, who discusses Berlin architectural history, but while she speaks with passion about that history, she feels disconnected from humanity, even with Christoph and Johannes. There’s something else compelling her, and death and close calls always feel not far away. That disconnect makes it hard to really get engaged with the story, as Undine has to make difficult choices when potential tragedy strikes. We continue to follow the story, however, and that is a credit to the ideas Petzold has that, even if we do not get drawn in emotionally, the narrative continues to interest us as it leads to its conclusion. It’s an interesting, grounded fantasy idea that leaves us at arm’s length.
