Petzold : Well, in just this last half-hour, I was walking through Berlin. The snow is very dirty, the air is very cold, the people are very, very ugly, and the lights on the streets, the traffic lights, are also very, very dirty.
During the walk, I was thinking about how all the period pictures about the German Democratic Republic used this dirty snow, and this muddy light, to say that the people are cold there—in their hearts, and in their souls, and in the system.
But, for me, the German Democratic Republic has the same temperature, and the same climate, and the same light, as the west. The feel of coldness is under the skin, and so we had to make a movie about the things that are under the skin, and not in the air. I think this was a little too primitive in most period pictures about Communism. Therefore, I thought about the Technicolor system, which Germany, like the U. It was actually invented, partly, in the German Democratic Republic. It had fantastic red and fantastic blue.
So I had to use it too. I wanted fantastic red and fantastic blue. I wanted the skin of the women, and the skin of the men, and the color of the clothes, and the color of the shoes, to be great. Do you have any experience in that world that informed some of your decisions? Petzold : I know so many serials about hospitals, but you never see work. So you see actors with fantastical expressions on their faces and tears in their eyes.
In the west, the basis of all stories is the weekend, and the evening, and the bar, and the shopping mall. You never see work. So I was looking for a place where you can see the work and also have the dramatic structure of the story. I know a little bit about hospitals because I injured myself so often during soccer games. Filmmaker : The narrative is quite minimal in terms of the way in which the information is delivered to the audience.
Do find it frustrating watching films that insist on holding your hand and guiding you through the plot? Petzold : I hate those movies. In the last two or three years, you can see that this bad dialogue is vanishing a bit from the cinema, including American cinema. The music is vanishing too—those shit music scores.
Both of these things guide the audience in an infantile and regressive way, and I think the audience is getting more adult now. For me, say a woman is sitting on a bed.
You can the face, the gesture, the posing. You can see light. Period signifiers are so subtle that it took a while before I realized the Wall was still intact. I'm sure it'd be obvious to Germans, and probably also to anyone who pays more attention to cars and clothes than I do. Consequently, pleasurable befuddlement reigned, and I felt a bit betrayed when the story's fundamentally conventional shape emerged.
Just a conversion tale, really. Exquisitely made, though. However, just like those films I referenced, "Barbara" also feels unique, exposing dramatic stories of the germanic culture in a cold and alluring manner. Barbara is a woman that doesn't speak much. A medical doctor that was transfered against her will to a smaller hospital, in 's East Germany. The mystery starts here, although we can practically guess why that happened, unfortunately, such stories were common to a time where people like her couldn't feel safe and were constantly monitored.
Predictability doesn't hinder any of the plot, and even if we believe to already know such a story, the cinematography, acting and overall cinematic experience gives a whole new meaning to such account. So on this boring Wednesday evening I was spending my night watching the quebecois channels on tv just to….
Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Where to watch Trailer. Director Christian Petzold. Christian Petzold screenplay Harun Farocki collaborator on screenplay. Top credits Director Christian Petzold. See more at IMDbPro. Trailer Photos Top cast Edit. Nina Hoss Barbara as Barbara. Peter Weiss Medizinstudent as Medizinstudent. Carolin Haupt Medizinstudentin as Medizinstudentin.
Deniz Petzold Angelo as Angelo. Jasna Fritzi Bauer Stella as Stella. Peter Benedict Gerhard as Gerhard. Thomas Bading Klavierstimmer as Klavierstimmer. Susanne Bormann Steffi as Steffi. Christian Petzold. More like this. Watch options. Storyline Edit. In s East Germany, Barbara is a Berlin doctor banished to a country medical clinic for applying for an exit visa.
Deeply unhappy with her reassignment and fearful of her co-workers as possible Stasi informants, Barbara stays aloof, especially from the good natured clinic head, Andre.
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