In transit music box films Europe, today and in the 1940s, German expat George (Franz Rozowski) tries to flee Paris before confronting Nazi-esque fascists. Arriving in Marseille, he befriends a former comrade’s African son (Lillian Batman) and wife (Maryam Zairi).
Adapted from Anna Seeger’s 1942 novel, Transit transports the original story into the present, blurring the period to create a timeless exploration of the plight of displaced people.
Through the circumstances, he also believes under the guise of the famous writer Weild, whose wealth he receives and whose documents allow him to travel to Mexico, awaits him at the embassy of the port city. So does the case continue with Weald’s wife Mary (Paula Beer), who repeatedly mistakes George for her husband, and who also wishes to reunite with a man (Godrej Gise). Prevents him from leaving.
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Limits for crossing barriers in transit are ubiquitous in transit, much like the transition-fixed over of writer / director Christian Petzold, a loving reverence for identity, regret, trauma, and rebirth.
In addition, it is his many masterworks to confront issues of personal and national consciousness through a single cine-filter, Casablanca and The Passenger proving two of his many spiritual touchstones.
As fascism spreads, the German refugee George (Franz Rogowski) flees to Marseille and confirms the identity of the dead writer whose transit paper he is carrying. Among refugees around the world, George falls for Mary (Paula Beer), a mysterious woman looking for her husband – the man whose identity she stole.
Its characters, associated with spectral bonds, may feel that if they are not recognized (or controlled), it is a thrilling and inherently mysterious ghost story, both timeless and tragic in our times.