NYFF 2018 Report 2: Foreign Political Satires: TRANSIT & DIAMANTINO

My second report from NYFF consists of foreign films which, through their respective means, are reflective of the current turmoilic environment of both the United States and likewise the world around it. Transit, from Germany, and Diamantino, from Portugal, each target political satire in wildly distinctive ways; yet they each do so effectively as well.

Transit – Christian Petzold

Georg (Franz Rogowski) has recently escaped from a concentration camp, and has been sent to deliver a message to a writer named Weidel. Upon arrival, however, he discovers that Weidel has committed suicide, which leads Georg to deliver his effects to Weidel’s widow Marie (Paula Beer) in Marseilles. Upon arrival in Marseilles, however, Georg is mistaken for Weidel himself, and given the monetary status of this misidentification (and his own lack of funds), he decides to go along with the ruse, thinking that it might be a way to get ahead of the impending Nazi invasion. Such a choice, though, also leads Weidel’s widow to hear word that her late husband is still alive, and matters are even further complicated when Georg himself meets and then falls for her.

Christian Petzold’s film is an unusual one right off the bat. Such a synopsis, consisting of Nazis and political ploys, seems to be pulled straight out of the 1940s, with similarities to films such as Casablanca soon becoming eminent. However, Transit instead takes place in the modern era, as if set in an alternate universe where the Nazis either were never defeated or somehow had a resiege in political power (an idea that, given the current state of our world, doesn’t seem too far off the mark). The clash of Nazi-era aesthetics with modern production design makes for an alarming and surreal effect, giving the film an unexpected edge with every turn.

Besides Petzold’s‘s direction, the true highlight of the film is Georg himself, incredibly played by Franz Rogowski, who somehow combines both the smooth charisma of a Hollywood archetypal hero like Humphrey Bogart with the sly mysteriousness of an outsider. His soft-spoken manner of speaking and effortless confidence is never less than captivating. Likewise, Paula Beer, who plays the widow Marie, channels an electricity through her performance, captivating every character on screen that is lucky enough to meet her.

Transit’s unexpected ending, which could be interpreted in various ways, seems to both be an homage to Casablanca and a revisionist version of it; honestly, this one is going to be running through my mind for some time to come.

Diamantino – Gabriel Abrantes, Daniel Schmidt

Diamantino is a film that I knew next to nothing about before sitting down to watch it. Besides an initial gleeful image (which I’ll return to in a bit), it seemed to be setting itself up for a traditional fall-to-rise sports biopic. Diamantino (Carloto Cotta) is the world’s most celebrated soccer player, and the star of the Portugal team. During the World Cup, however, he becomes distracted and unfortunately misses what would have been a tie-game shot with only one minute left, costing his team the game. Disheartened, Diamantino decides to take some time off, and in a moment of sudden compassion, decides to adopt a refugee to ease his sorrows.

From here, Diamantino is soon caught up in two schemes, one which consists of the motives of the “fugee” himself, and one being instigated by his two wicked twin sisters (delightfully played by Anabela Moreira and Margarida Moreira). And if you think you know where the film is going from here, think again – this one goes places.

The first indication that Diamantino will be an out-there sort of film is the initial image presented on screen, in which Diamantino is running across a soccer field surrounded by a horde of giant-sized fluffy puppies. Yet, his strange visions don’t seem unusual to him at all, as the puppies actually help Diamantino excel at the game. Later on, the film gets even more bizarre, delving into the idea of human cloning, the nefarious political aspirations of Portugal, and a very unusual budding to a romantic relationship.

It’s admittedly all a bit much at times, with some attempts by the film being very hit or miss. Whereas, for example, a film like Transit subtly hinted towards the current political environment, Diamantino is often a bit too on-the-nose, even including a slogan at one point called “Make Portugal Great Again!” In addition, Diamantino, though often adorably dim-witted, is sometimes a bit too unbelievably idiotic, while his sisters come across like Disneyesque villains.

All in all, Diamantino might not be as clever or witty as it clearly tries to be, but for a fun, absurdist satire, it’s often a riot of a good time. Like the title character himself, though, don’t expect to use your brain too much.

Conclusion: Transit and Diamantino

To conclude, both Transit and Diamantino are two films that, though with varying approaches and to varying success, attempt to delve into the political turmoil of our world through their narratives. Whether a case of mistaken identity in Nazi-strewn modern France or following the absurd plight of a celebrated soccer player from Portugal, they are films with a lot to admire, and will hopefully find themselves an audience as well.

What are your thoughts? Are you a fan of foreign political satire? Tell us your thoughts in the comments below!