Visitation, a film by Volker Schlöndorff, is a powerful and intelligent exploration of German history through the lens of two summer houses. This movie, adapted from Jenny Erpenbeck's novel Heimsuchung, offers a unique perspective on the country's tumultuous past, spanning from the rise of the Third Reich to the fall of the Berlin Wall. The narrative is a microcosm of the broader historical events, focusing on the lives of the residents and visitors of these two houses.
One of the film's strengths is its ability to weave together personal stories with historical context. The cast, including Martina Gedeck and Lars Eidinger, delivers compelling performances that bring the characters to life. The film's setting, shot in and around Albert Einstein's summer home in Caputh, adds an extra layer of depth to the narrative. The house, designed by the Nazi architect Konrad Wachsmann, becomes a central symbol of the film's themes.
The story begins with a German Jewish cloth manufacturer and his family, who build a modest summer hut near the architect's modernist home. This initial setup creates a sense of equality between the two families, but the architect's sinister smile hints at the tension that will soon arise. The introduction of the 'Aryanization' laws in 1933 allows the architect to buy the neighbors' land, marking the beginning of the manufacturer's family's tragedy.
Schlöndorff's handling of the manufacturer's family's story is dignified and poignant. The film portrays the grandparents' forced emigration, the family's eventual disappearance during the Holocaust, and the lasting impact on the children. The lack of sentimentality in these scenes is a powerful choice, as it allows the audience to feel the weight of the tragedy without becoming overly emotional.
The film then shifts to the post-war era, where the architect's wife must navigate the occupation of Soviet soldiers in their home. This period showcases the resilience of the characters and the challenges they face under the Eastern Bloc regime. The introduction of a left-wing writer and her family adds a layer of political intrigue, as they gain sole access to the house, a symbol of power and privilege.
The final section of the film focuses on Marija, a young girl who discovers Doris' letters hidden in the crumbling cottage next door. Marija's curiosity and questioning of authority become a driving force in the narrative. Her interactions with the local son-of-the-soil boyfriend and her eventual realization of the house's changing ownership provide a sense of closure and a reflection on the passage of time.
While the film may not be Schlöndorff's best work, it is a worthy addition to his filmography. The film's craftsmanship and seriousness are evident, and its exploration of personal stories within a broader historical context is a testament to the director's skill. Visitation is a thought-provoking and engaging film that offers a unique perspective on German history, leaving a lasting impression on the audience.
