Transit

Music Box Films | Release Date: March 1, 2019

6.7	USER SCORE Generally favorable reviews based on 46 Ratings

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GinaKMar 19, 2019

A haunted and haunting film about characters trapped in a “state” which they do not quite understand nor did I. It’s a film I want to see again, perhaps on DVD. The film is Kafkaesque in mood, but not in style. It seems like a “normal” movie,A haunted and haunting film about characters trapped in a “state” which they do not quite understand nor did I. It’s a film I want to see again, perhaps on DVD. The film is Kafkaesque in mood, but not in style. It seems like a “normal” movie, but very little is normal. The characters are trapped and so is the audience. Franz Rogowski does an excellent job of bringing the director’s vision to “life.”… Expand

1 of 1 users found this helpful10

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The3AcademySinsMar 21, 2019

Transit asks a lot for it's audience to believe, but if you can believe that the Nazi invasion of France is a contemporary event, and that phones and the internet do not exist, than you will find a lot of rewarding material within theTransit asks a lot for it's audience to believe, but if you can believe that the Nazi invasion of France is a contemporary event, and that phones and the internet do not exist, than you will find a lot of rewarding material within the confines of this world. The cinematography is immaculate, and Christian Petzold's direction is masterful. Most powerful, are the performances of Franz Rogowski and Paula Beer. Their chemistry will break your heart, guaranteed. While maybe not politically as impactful of a script as Transit tries to be, it is without a doubt very emotionally powerful.… Expand

1 of 1 users found this helpful10

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amheretojudgeMar 20, 2019

Mourn For The Greater Good.

Transit Petzold works on the vibes of the film. He is very careful about the fact of how the entire thread comes off to the audience. There is catharsis in your lungs when the air turns into navel-gazyMourn For The Greater Good.

Transit

Petzold works on the vibes of the film. He is very careful about the fact of how the entire thread comes off to the audience. There is catharsis in your lungs when the air turns into navel-gazy nail-biting drama. This is where Christian Petzold; the director's, target lies. He feeds off on this energy and so does their character. Personally what appealed to me the most from the film is the calmness it conjures on the screen despite of the high stakes threats ticking behind these characters.

The protagonist, when alone, is always on the run, initially physically and latter in the film from his thoughts. But when he shares his screen with a boy having a catch or two, or having a cup of coffee in the cafe with a fellow being, there is a soothing humble look in his eyes where you find yourself sinking peacefully, a bit wounded, but satisfied. This mirror-like trajectory to Michael Curtiz's Casablanca rebooted with a style that matches the comparison it comes with.

The novel by Anna Seghers from which Petzold adapted the film, has had the essence of triggering impactful drama within a snap and Petzold has definitely encouraged that in here, from deriving the first meeting by iterating the scenario variously to bonding over a quick game that creates a heartwarming equation within a snap. Georg (Franz Rogowski) our host is pretty much reading someone else's diary throughout this journey, he is always the third person in the room that allows us to welcome him with open arms as he shares the same stage with us, while the other supporting cast does a decent work on advancing the storytelling. Transit is neither a romance nor a thriller, it is a typical drama that works it's way up the ladder through empathy and not manipulation.… Expand

1 of 1 users found this helpful10

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JLuis_001Aug 4, 2021

Maybe there's a point where it can be said that the melodrama this film presents comes to seem a bit overloaded, but Transit stands out for the simple reason that it doesn't use it to manipulate the viewers, and that's very difficult whenMaybe there's a point where it can be said that the melodrama this film presents comes to seem a bit overloaded, but Transit stands out for the simple reason that it doesn't use it to manipulate the viewers, and that's very difficult when you're using it as a narrative vehicle.

The plot follows a European refugee who is fleeing from German authorities occupying various parts of France. Basically a scenario taken from WWII. Although the film is set in the present day.
That scenario is not explored, but it's not necessary for the film to do so.

That plot deals with someone trying to escape, but the story takes a turn that involves the melodramatic charge I mentioned, but as I also said, the director prevents that from being what defines everything that follows.
I mean it's an important part of it, but the different characteristics that goes from the reckless to the passionate evoke a more satisfying result than I was expecting in the first place.

The only thing I really hated is the voiceover. Incredibly infuriating.… Expand

0 of 0 users found this helpful00

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