Transit 
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Transit 

The German filmmaker Christian Petzold is a true artist of melodrama, a cultor and connoisseur of the genre who allows himself to experiment with Der Vorname it as not many have done. Transit, however, is not – as some have asserted – a totally experimental film but one that plays with a temporary castling that resignifies all the time seen. It is that Transit is a film based on a 1942 novel about the Nazi occupation in France, although it is counted as if it happened today. But it is not a complete update. The novel remains the same (there are fascists occupying France), but there are no Gestapo cars or helmets but common policemen, modern and cellular taxis.

The metaphor is not very complex to say: Petzold tries to show how the treatment that is currently given to refugees is not very different from what Taxi 5 happened then, with a civil society that turned its back on those who were persecuted and needed protection. But the director of Internal Security, Phantoms, Phoenix / Bird Phoenix, Triangle and Yella is far from considering doing a conventional political docudrama but uses the resources and figures of melodrama to tell that kind of purgatory in life that was for many and continues being him today to be a political persecuted, a refugee, a social pariah.

Transit starts as a spy movie from the ’40s and at first it is surprising the clash between the dialogues of a film about occupied France and the current Slice locations, but once one adapts to the system – with the classic voiceover in the third person typical of the more Frenchified adaptations of the noir- the film becomes an almost classical melodrama.

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