Fatherland review: Sandra Hüller is stupendous in a narratively slight but thematically rich drama

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A star rating of 4 out of 5.

It’s been eight years since Pawel Pawlikowski’s acclaimed film Cold War earned him an Oscar nomination for Best Director, and he’s now back with a new movie. Fatherland, which recently premiered at the Cannes Film Festival, is another beautifully made and skillful film from this celebrated Polish director.

This film focuses on Thomas Mann, the famous German author and Nobel laureate, who left Germany before World War II. In 1949, he returned to receive the Goethe Prize. The story follows Mann and his daughter, Erika, as they travel through Germany. His decision to accept celebrations in both West Germany (Frankfurt) and East Germany (Weimar) is controversial, as both sides of the divided country want to claim him as a symbol of their culture.

Throughout their travels, the film frequently shows the duo passing by buildings and roads that have been destroyed by war. It argues that, even four years after the end of Nazi rule, Germany and its people are still deeply scarred, not just physically, but also emotionally and morally.

Pawlikowski’s latest film shares a similar visual style with his previous work, particularly ‘Ida.’ Beautiful black and white cinematography by Łukasz Żal once again immerses viewers in post-World War II Europe. The film’s music, ranging from jazz singers to Soviet choirs, is crucial, creating a distinct mood and highlighting the divisions within the country.

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The film is short, lasting just over 80 minutes, but it’s thought-provoking and explores complex ideas. In an early scene, director James Mann is asked where he calls home. While he says California is his physical home, he points out that figuring out where he truly belongs is a much deeper question.

The film centers around this question, and while Mann often highlights the admirable values found in Goethe’s work, the journey across the country reveals that the Germany he admired may no longer exist—and perhaps never truly did. Erika seems to understand this, recognizing that their real home is lost to the past.

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The film opens with a memorable scene featuring Mann’s son, Klaus (August Diehl), speaking to a close friend, Erika, over the phone. He expresses a deep sense of emptiness, telling her he’s lost all faith and hasn’t felt anything in a long time. Although this is his only appearance, Klaus’s words and the feeling they evoke linger throughout the movie, becoming particularly significant after a key plot twist is revealed.

A particularly striking scene occurs at a party in Frankfurt celebrating Mann’s award. There, he and Erika encounter members of Germany’s upper class who previously supported fascism without hesitation. Erika observes how complicit they were, wondering what they were doing just a few years prior. She also confronts her ex-husband, Gustaf Gründgens, a now-discredited actor trying to justify his past closeness to Hermann Göring.

Sandra Hüller is remarkably talented, and it’s no surprise given her recent success – including an acting award from the Berlin Film Festival and a part in a major blockbuster film this year. She brilliantly portrays Erika, shifting between strength and fragility, and conveys the character’s emotional struggles with her fractured homeland and complex family life with nuance and intelligence.

While Fatherland is consistently strong throughout its short length, it occasionally feels a bit concise. This impactful sketch could have been even more powerful if it were longer. Nevertheless, Pawlikowski masterfully creates a haunting and thought-provoking story that stays with viewers long after it ends.

Authors

Patrick CremonaSenior Film Writer

Patrick Cremona writes about movies for TopMob, covering both theatrical releases and streaming titles. He’s been with the site since October 2019, and during that time, he’s interviewed many famous actors and reviewed a wide variety of films.

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2026-05-15 12:34