Volker Schlöndorff's 'Visitation' is a compelling cinematic journey through the tumultuous landscape of German history, offering a unique and thought-provoking perspective on the country's past. This film, adapted from Jenny Erpenbeck's novel 'Heimsuchung', takes a microcosmic approach, focusing on the lives of two families and their summer houses, while weaving in the broader historical narrative of Germany's turbulent 20th century. What makes 'Visitation' truly remarkable is its ability to capture the essence of a nation's history within the confines of two lakeside properties, a feat that demands both artistic prowess and a deep understanding of the subject matter.
One of the film's standout aspects is its clever use of setting. The summer homes, one a sleek Bauhaus-style structure associated with Albert Einstein, and the other a more traditional summer hut, serve as powerful symbols of the contrasting political forces that shaped Germany. The architect's house, with its modern design, represents the rise and fall of the Third Reich, while the Jewish cloth manufacturer's home embodies the resilience and tragedy of the Jewish community under Nazi rule. Schlöndorff's decision to film in Einstein's actual summer home adds an extra layer of historical significance, making the story feel even more intimate and personal.
The cast of 'Visitation' is exceptional, with Martina Gedeck and Lars Eidinger delivering powerful performances. Gedeck, in particular, shines as the acclaimed left-wing writer who gains access to the architect's house, her character serving as a bridge between the past and the present. Eidinger, as the architect, embodies the complexities of a man caught between his Nazi ideology and the changing political landscape. The supporting cast, including Susanne Wolff and Ulrich Matthes, further enhances the film's emotional depth and historical authenticity.
What sets 'Visitation' apart is its refusal to resort to sentimentality. Schlöndorff handles the tragedy of the manufacturer's family with dignity and pathos, using ghostly reminders of their existence to great effect. The war sequences, where the architect is shipped to the Eastern Front and his wife must navigate Soviet occupation, are particularly powerful, showcasing the human cost of conflict. The final section, dominated by the consciousness of Marija, the young daughter who discovers Doris' letters, provides a poignant conclusion, capturing the sense of loss and the fragility of family ties.
However, one might argue that the film's pacing could have been more dynamic. The GDR-set scenes, while historically accurate, tend to be a bit more boring than the earlier action-packed sequences. The film's strength lies in its ability to convey a century of history in a concise manner, but the GDR segment could have been more engaging. Despite this, 'Visitation' remains a powerful and thought-provoking work, offering a fresh perspective on German history and a testament to Schlöndorff's refined cinematic and literary taste.
In my opinion, 'Visitation' is a return to form for Schlöndorff, a filmmaker who has consistently demonstrated a deep understanding of the human condition and its interplay with political forces. This film, with its clever use of setting, exceptional cast, and refusal to sentimentalize, is a must-watch for anyone interested in cinema that challenges, engages, and provokes. As the credits roll, one is left with a sense of awe and a deeper understanding of the complexities that shape our world, a testament to the power of cinema as a medium for historical exploration and reflection.
