Berlin Syndrome: Terrifying, slow and unsteady

Right at the beginning of Berlin Syndrome , Clare (Teresa Palmer) gets off a subway in the German capital and the thrill of travel is etched on her skyward gazing face. She wrings her hands on the handles of her backpack, giving away her trepidation. She’s shy when socialising with fellow backpackers at her hostel but then boldly spends the day with a stranger she has only met at a crossing. These conflicting personality traits are a preface to Cate Shortland’s slow psychological thriller.

German Andi (Max Riemelt), a charming English teacher woos Clare with all the right words. Obviously then, Clare thinks Andi has forgot to leave her a key when he leaves for work and she can’t get out of his house. The next day it becomes clear she’s a prisoner held against her will. Andi has stolen her passport and sim card, the windows are reinforced and there’s a huge bolt on the door of his apartment in an abandoned building.

Berlin Syndrome is terrifying; it’s a manifestation of your worst nightmare. Director Cate Shortland knows how to perfectly create the anxiety and claustrophobia of being trapped in a small space. The Australian filmmaker injects dread into the audience from the first shot of her film, even as Clare is enjoying a new city. The dim camerawork coupled with staccato music creates an eerie atmosphere. Palmer’s transition from adventure hungry traveller to a broken woman resigned to her fate is heartbreaking. Riemelt is absolutely believable as the stoic sociopath with his unflinching obsession and lack of regret or shame for his actions.

A still from Berlin Syndrome.

But despite great performances and a compelling story, Berlin Syndrome ends up disappointing. Often the narrative seems disconnected. This is especially true when Clare oscillates between being afflicted by Stockholm syndrome or determined to escape; one moment she’s having consensual sex with Andi and at another, she loathes him again. Riemelt’s character too is confusing, with his disdain at being touched or a strange dislike for a female colleague. His backstory is never revealed, instead we’re expected to put together a puzzle with ill-fitting pieces. Another drawback to Berlin Syndrome is its duration which clocks in at close to two hours.

Shortland’s film is anti-climactic, burning at a painfully slow pace and never fully coming to a boil.