Movie Review: Mirrors No. 3
One-liner: This gentle, slow-burning and well-acted mystery drama remains thought-provoking even if it underwhelms.
Miroirs No. 3 or Mirrors No. 3 is a gentle psychodrama from acclaimed filmmaker, Christian Petzold. It follows the introduction of Laura, a young piano student, into a strange family dynamic after she’s taken in by Betty, the woman who witnessed a car accident in which Laura’s boyfriend died. This slow-burning mystery keeps the audience wondering what lies around the corner, with the story gradually revealed through a series of subtle clues. The film takes its time, immersing the audience in Laura’s predicament without rushing to the reveal, giving space for speculation as the narrative unfolds primarily through character reactions and negative space.
The film stars Paula Beer as Laura, who delivers a fine performance as an innocent embroiled in a discordant family dynamic. She plays opposite Barbara Auer as Betty, whose matriarchal intensity haunts every scene, intensifying the warmth of their convenient, yet artificial, mother-daughter bond. Their push-and-pull transaction forms the emotional core of the film, as new information redresses the true nature of this act of hospitality.
Under a melancholy atmosphere, the drama feels ordinary, gently ambling along, content to peel away one layer after the next as the young woman at its centre reaches full realization. This character-driven drama and obscured family portrait is essentially a meditation on grief, healing, and the ways people cope with loss. Kept at an arm’s length from the beginning, we sense Laura’s initial depression – she is comfortable merely going through the motions and unable to truly express herself.
After a close call, Laura forms an instant connection with Betty, who finds solace in the young woman, essentially rescuing her after paramedics sign off on what appears to be a kind gesture. From this point, Betty opens her home, and Laura essentially becomes like a daughter. Both seem to enjoy this new, familiar dynamic; Laura finds clothes set out for her and strives to be a welcome house guest, showing appreciation for being taken under her wing.
“Wait…”
When introduced to the rest of the family, they take a moment to re-acclimatize, eventually buying into the idea of having another member attend to a household where many things need fixing. A process of healing begins as the family reconnects and finds some kind of restoration thanks to the arrival of this talented young woman. As Laura rediscovers her abilities at the piano, revelations continue to breach the surface, prompting the family to reunite and rekindle their strained relationships.
This gentle drama focuses on quiet moments, allowing the situational dynamic to create a natural sense of tension rather than relying on genre suspense. While this breezy ebb-and-flow offers a somewhat lifelike representation, the characters’ groundedness and the simplicity of the story might leave some viewers wanting more. There are some beautiful moments, but for the most part, Mirrors No. 3 is a fairly plain psychodrama, so subtle that it risks losing shape.
Solid performances anchor the drama, which, while aesthetically flat-footed and bordering on docudrama with its very lived-in feel, struggles to raise the stakes and fully capitalize on its slow-boiling suspense. This hands-off approach gives it a lifelike quality, and the restrained performances play into this, but the overall effect is modest and subdued where moments could have been much bolder. Simply scratching at the surface, there is still enough going on to remain engaging as the audience tries to unpick the relational dynamics without being spoon-fed.
However, the standoffish nature of the artistic expression runs the risk of leaving Mirrors No. 3 feeling a bit dull. The complexity of the themes and the subtle handling of a strange emotional and social predicament keep the intricate storytelling engaging, but also render the film slight in its overall treatment.
It’s ultimately a harmless and thought-provoking drama that’s gently intriguing and well-acted. There is enough to appreciate, but one wonders how much more could have been extracted if the cinematography and direction had been more artful and assertive. Mirrors No. 3 is a somewhat reluctant drama that continually seems to be on the cusp of turning into something deeper and more powerful. It unfortunately doesn’t shift gears and remains tame when a bolder approach may have escalated the intensity and enhanced the tension of this small, yet sincere drama.
The bottom line: Gentle
