Written and directed by Christian Petzold, after a car crash kills her boyfriend, piano student Laura is taken in by Betty, who witnessed the accident. Living with Betty’s family brings comfort, but Laura starts questioning their intentions as time passes. Starring: Paula Beer, Barbara Auer, Matthias Brandt and Enno Trebs.

The combination of Christian Petzold and Paula Beer is more than enough motivation to see a film, no further information needed because they never disappoint. If you’re used to their more mysterious and surreal work, this is quite the departure. It still has some curious edges and plenty of tension to offer but it’s surprisingly straight forward. It holds a much lighter tone and has a certain serenity to it, its country setting and gentle air being unexpectedly soothing.

There’s also a great naturally comedic touch to it which makes its characters even more sympathetic and relatable. It matches perfectly with its contemplative air, there’s a quality to both the characters and the tone of being unmoored or adrift, they’re floating through their days together. That’s then layered with a background of tension and unspoken conflict, making a great blend to explore its story of the line between comfort in difficult times and forming unhealthy bonds and reliance on other people. It’s a touching story of healing and procession complicated emotions.

Part of the reason why Miroirs No. 3 is both intriguing and endearing is due to the quality of the core quartet. Putting together Paula Beer, Barbara Auer, Matthias Brandt and Enno Trebs is an example of pitch perfect casting. The way that these four play off of each other, the ways that they both clash and gel all feel so organic. They’re effortless to watch, Beer’s Laura is sweet and naïve but strong, Auer’s Betty is broken but generous, Brandt’s Richard is gentle and trying to keep everyone happy, while Trebs’ Max adds in a lightly spiky edge, wary of what they’re all going through.

The style, the acting, the tone, the story, they’re all superb elements but there is one key issue which may undermine the enjoyment of Miroirs No. 3 for some viewers, it’s disproportionately transparent to the audience versus the characters. There’s an avoidance of dealing with the topic directly, causing the friction between the characters but to anyone watching, it’s obvious what’s going on. So, to have the characters ultimately act like it’s a revelation feels out of place which in turn makes the ending feel rushed. Petzold does nicely round out the emotions at play but doesn’t bring the story to a strong resolution.

Miroirs No. 3 is sweet, charming and surprisingly serene. There’s a strong emotional undercurrent but at its surface its funny, touching and relatable. There’s an excellent cast, the quartet led by Paula Beer are a joy to watch. Christian Petzold’s directorial style is unsurprisingly strong, it has a wholesome yet curious tone and an enveloping atmosphere. The story is less of a mystery than perhaps hoped or intended but if you can look past that and focus on the lovely tale of family and loss beneath it, there’s plenty to enjoy.

Verdict: ✯✯✯✯ | 8/10

Screened as part of London Film Festival 2025