A Christian Petzold Summer has a special climate: the hot, hot, can expose grass in the flat German countryside, but the looming threat is harder and heavier, and the baseline chill inside his character ensures that they never melt in the beaten sun. This iconic season has a background Petzold joint, from "Jerichow" to "Barbara" and then to the excellent "Afire" of 2023, it drops again, once again warming and cooling effects in "Miroirs No. 3". A psycho drama of damp displacement, alternatives and fresh plum cakes is scarce, in which pleasant days mix with uninflicted trauma, making this 86-minute puzzle a possible new life and identity is not one of the director’s main works, but attracted by his trademark pleasure due to his trademark fun in texture and tone, and the collaboration with Star Paula beer drives more collaboration.

Beer is far from emotionally effective than Peter Zod’s previous muse, Nina Hoss, but something that is difficult to read. Although she stands out and even taunts in "Afire", relaxing in "Afire", "third place", titled "Ravel Piano", plays at a critical moment - handing her a particularly remote, morphed character, and even plagued by silent demons before the tragedy that causes the story to cause the action. Even after the pivot of the melody is prone to appear, the film's blank space and ambiguity continues and will attract and confuse the audience in the same way. It has attracted widespread distributor interest and Metel Images gained North American rights after the directors premiered in Cannes this year.

Beer plays Laura, a young piano student in Berlin suffered an unspecified mental crisis at the beginning of the lawsuit. She can’t seem to shed light on her pain for anyone, at least all her handsome, impatient musician boyfriend Jakob, who needs her role as a model girlfriend on a sailing weekend with a potential producer. After leaving the city, she suddenly changed her heart, prompting the angry Jakob to speed up her return to the station in an open sports car - prompting that a terrible accident killed him, leaving her alive, but more painful than before.

We saw the moment before the crash - Laura locked her eyes briefly but weirdly, living next to a country road with a middle-aged woman - then the consequences of bleeding, how or why the second time happened. This is a typical escape escape from how the “third place” works: direct revelation and influence moments are less interested than Peter Zor’s long-term impact. Closest to the outside witness is Betty (Barbara Auer), a sad woman whose eyes are just meeting Laura and rescues her from the wreck with reassuring calm, returning her to the modest but seductive farmhouse. Laura is shaken by the accident but is shocked by the loss of Jakob, a plain Laura demands to stay indefinitely. Betty was surprised, but was happy to let her.

The basis of this seemingly unreasonable behavior of the two women is sad, dark human reasons, and once Betty is not alone, we will be closer to them. Her rough husband, Richard (Matthias Brandt) and clumsy adult son Max (Enno Trebs) live near the car restoration studio they manage together: adding the family separately to an unresolved list of question marks that eventually add up to a bigger, sadder story. They are confused by the new arrival in the middle, but as time goes by, Laura and the lonely, unsensible Max warm each other, the four form a strange, intuitive family unit.

One even started to occasionally call Laura Laura by another name when Betty started, while local passers-by gave them a weird and clumsy appearance, but the full reveal that when it appeared, it wasn't twisted as an earthquake. Instead, this strange, secret summer has a trajectory of mutual healing in the playful house, and Petzold gradually attacks in gestures, expressions and details of family daily activities – its mistakes fail when people stand out intermittently.

It's a short-term cinema, no longer a complete conclusion, not in a clear and coming moment - just like Laura's work that plays after Betty's too strong demands, bridges the memory of one character and carries the restoration of the future of another. The four actors exert a contrasting energy to each other when they advocate roles in improvised new families: the airy silence of beer is slightly different from the itchy feeling of TREBS, with the increasing amount of Auer, but more and more mother-son controls.

It's all filled with Peter Zold's habitual elegance and reserves--his restraints occasionally appearing examples of absurdity and confusion, whether capsized red convertibles or explosive dishwashers, are even more disorientated, such as the loud mechanical expression of quiet human obstacles. Director's regular DP Hans Fromm painted with bleached neutral and sunburned primary colors, keeping a drowsy still breath full of anxiety, the camera's movements range from serene to predatory dynamics as the scene's tilted emotions. Meanwhile, the rich sound design sometimes goes out in the outdoor summer buzz and buzz (or the speaker boasting of Frankie Valli's The Night's "Night"), while silently resting, the characters can finally hear their own thoughts, for better or worse.