This time, it’s a Berlin immediately in the aftermath of WWII, and Hoss plays a concentration camp survivor who returns home having had reconstructive facial surgery following her injuries. She’s so vulnerable and delicate you can almost imagine she would snap in two if you touched her.
We’re asked to believe that this woman’s husband finds her unbelievably similar to his wife, yet doesn’t actually recognise her. This is my main issue with the storyline, and it is to Petzold’s and his actors’ credit that I was prepared to go along with this – in other hands it could have been laughably preposterous.
As it is, this ‘does he/doesn’t he’ thread is beautifully played out in a fantastic climax, with a veritable mic-drop of a finale.