In the Fade
3rd German Film Week

film review

Ten minutes into In the Fade, when Katja (Diane Kruger) arrives at the scene of explosion and is informed that a man and a kid have been killed, affirming her biggest fear of losing her husband and son, it is clear that the film would be banking a lot on Kruger and her performance. The camera lingers on her as she breaks down, lands on the ground, and lets out a most terrifying scream. From start to end she takes the wheel and does not disappoint: She portrays the grieving mother with such depth and striking nuance, the spectrum of her emotions controlled and leveraged to maximum emotional effect, carrying the film through despite its tendency to make large, unsteady steps to put forward angry politics. Divided into three chapters, In the Fade underscores Katja’s ordeal as she comes into terms with the loss of her family, is subjected to the harrowing court trial whose verdict magnifies her tragedy, and tries to find a solution to her crisis, a closure that must not be seen only for its dramatic impact but also for the fatalistic view it espouses.
 
Director Fatih Akin and co-writer Hark Bohm lift many elements of In the Fade from the 2004 bombing in Cologne in which neo-Nazis used a nail bomb to cause an explosion in a busy Turkish neighbourhood. Keen on exploring the intersections of racism, xenophobia, terrorism, and violence in the context of immigrant life, Akin, a German filmmaker of Turkish descent, is known for his heavy-handed handling of material that more often than not yields positive results (Head-On and The Edge of Heaven, for example). In the Fade continues this badge of radical cinema, setting forth a clear political statement that expresses its rage and disappointment in the current state of affairs. The final part of the film is different in tone from the previous two chapters — calmer on the surface, firmer in its direction, more thrilling as the genre dictates — and is obviously intended to provoke, as Katja is driven to find justice not only for her loved ones but also for herself. Akin does not say nihilism is the only answer, but to some people it appears to be an inevitable path.

- Richard Bolisay
 

Richard Bolisay is a writer and film critic based in Manila. His essays on cinema have appeared in various publications online and in print. He is a participant of the Berlinale Talent Press and Locarno Critics Academy, and has been part of the jury of, among others, the Hong Kong International Film Festival. 
Follow him on Twitter @richardbolisay.