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Berlin, immediately after the end of the war\u2014
a city reduced to mountains of rubble.
Not a set, but real ruins.<\/p>\n
It isn\u2019t a documentary;
it\u2019s a scripted drama.
And yet, as you watch,
the boundary between the two becomes unclear.<\/p>\n
Unlike Japan\u2019s burned-out wastelands,
the buildings here are damaged,
but still standing.<\/p>\n
The lack of emotional room among the adults
feels painfully real;
there is no space left in daily life
for faith to enter.<\/p>\n
The adults are consumed by their own survival,
and the boy Edmond, the protagonist,
is never allowed to behave like a child.
The adults don\u2019t notice this,
and Edmond himself cannot fully grasp it either.
In fact, the irony is that Edmond is the one
who thinks about everyone else the most.<\/p>\n
That burden presses down on him,
and when he reaches a point of no return,
the story ends abruptly.<\/p>\n
This is not only a story
about war-torn Berlin at that moment in history.
Under the devastation of war,
under large-scale disasters,
under a pandemic,
under domestic discord\u2014
when adults lose sight of themselves,
this is something that can all too easily happen.<\/p>\n
After the screening,
I was left with a sensation
as if I had swallowed lead.<\/p>\n
That this film was made not by a German,
but by the Italian director Rossellini,
made me think\u2014though what they depict is different\u2014
of how the German director Wim Wenders
captured Japan more completely than anyone else
in Perfect Days.
And it made me realize once again
that Germany Year Zero truly confronts
Germany itself.<\/p>\n","protected":false},"excerpt":{"rendered":"
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