Germany, 1949. The world-renowned author Thomas Mann returns to his homeland after sixteen years to receive the prestigious Goethe Prize. But there is little reason for joy. The war left the country divided, both literally (into West and East Germany) and figuratively. Exile Mann is seen as a traitor by some. Others expect the writer to offer hopeful words to help society rise from the ruins. Meanwhile, the anti-communist United States is keeping a close watch on him. Accompanied by his daughter Erika, his special bond with her is also put under pressure. Death still haunts Europe and follows them across borders.
When director Paweł Pawlikowski was offered to adapt Colm Tóibín's biographical novel The Magician, he declined the offer. However, one event from the book intrigued him: Thomas Mann's return to Germany in 1949. How the historical drama intertwined with the personal formed the seed for the screenplay. Pawlikowski, along with his co-writer, built upon the creative freedom that the fictionalized biography had already taken. Thanks in part to the surprisingly tender black-and-white photography and the intimate, almost square aspect ratio, his latest road trip through European history has unintentionally become the concluding piece of a poetic triptych with Ida (2013) and Cold War (2018).
The heavily loaded concept of Fatherland takes on a dual meaning here, addressing questions we are still seeking answers to today. In serene surrender, the film finds a vulnerable beauty and comfort. Actors Hanns Zischler and Sandra Hüller (The Zone of Interest, Anatomy of a Fall) are perfectly attuned to each other in their imperfections as father and daughter. The role reserved for an equally imperfect organ and classical music undoubtedly provides one of the most touching moments of this festival edition. With the gentle award-winning film Cold War, Paweł Pawlikowski won the hearts of both the international jury and the audience at Film Fest Gent, evidenced by the Grand Prix for Best Film and the Canvas Audience Award, respectively. Fatherland exceeds high expectations. At Cannes, the Polish filmmaker won the Best Director award for the second time.
