Fatherland

Black-and-white frames can be rendered either warm or cool, depending on what you’re going for. Pawel Pawlikowski manages to combine stateliness and intimacy in his signature look, where both those colours are given several shades of grey. As soon as ‘Fatherland’ (Cannes competition) begins, in which unfolds a fraught chapter of the famous author Thomas Mann’s life and times, we know we are back in Pawel territory. It is 1949. Mann (Hanss Zischer), who had fled Nazi Germany for the US, is back, readying for the Goethe prize to be conferred upon him. The film loses no time in setting the context: here is a man who has essentially given up on his country — not motherland; Hitler had turned it into fatherland, a paternalistic, authoritarian, murderous dictatorship — and is to be welcome back at a time when the recently-concluded war has drawn a line separating the East and West.