Film Review: Berlin Syndrome

A one-night stand during an Australian woman’s European adventure takes a sinister turn in Cate Shortland’s disquieting confinement thriller. Known for her distinctly unnerving exploration of sexuality and cruelty (Somersault, Lore), Shortland’s Berlin Syndrome examines the nerve-shredding experience of a woman who realises that last night’s hook-up has locked her in his prison-like apartment – and has no intention of ever letting her go.

Teresa Palmer, stripped down figuratively and emotionally, conveys the emotional journey of her character Clare compellingly. Her polite pleading with her captor Andi (Max Riemelt) when she initially realises that he has locked her in is perfectly observed; women are not socialised to react to threatening men with appropriate violence, but with placation. Her movement through frantic escape plans, provocative defiance, despondent acceptance, and misplaced gratitude is fascinating, and feels more psychologically realistic than unwavering pluck. Riemelt is chilling as the disturbed Andi; his ability to casually chat with acquaintances while caressing polaroids of his bound and gagged victim is stomach-churning.

Shortland excels at building not just fear, but a messier, queasier blend of eroticism, gender horror and political unease. Early sex scenes take on a foreboding tone as Andi reassures a self-conscious Clare that “Nobody can hear you.” Berlin’s history of restriction is alluded to not just in the locked apartment, but in Clare’s photographs of old buildings and walls. While the overlong runtime allows the pace to slump, Berlin Syndrome is a sinister slice of evil.

3/5