An actress known for her super-ability to suppress the emotions of a composed character is in not one, but two incredible festival films.
Justine Triet’s marital-murder-mystery thriller. The roles — and the movies themselves — couldn’t be more different, but in both, Hüller is convincing and magnetic as an outwardly composed woman trying and occasionally failing to hold it together in the midst of something seriously harrowing .is a German actress who’s made some impeccable choices over the last few years.
This unfathomable violence right next door, in plain sight and always audible, doesn’t seem to affect the family at all, least of all its patriarch and matriarch. There are small hints that it’s seeping into the cracks for some of them: Hedwig’s visiting mother is kept awake at night by the smell of the smoke, and leaves the next morning without a word; the ambient horror of it all might be causing Rudolf and Hedwig’s daughter to sleepwalk and their sons to act aggressively towards each other.
The only genuine emotion we witness is during a scene roughly halfway through the film, when she tells her husband, who’s just been transferred to another concentration camp, that she won’t be going with him to his new post — she’ll stay back with the children, because this beautiful space she’s worked so hard on, the house with the “Jews over the wall,” is their. As she talks, she openly weeps, but not for any other reason than deep self-pity.
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