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Tony Curtis goes full art-house trauma in a film about filming a Nazi lie. Buckle up.
TMDB
57
IMDb
65

The Passenger – Welcome to Germany (1988)

meta-nightmareGerman new wavehistorical ghost story

Overview

Drama

An American filmmaker travels to modern day Berlin to make a film based on a real-life incident from 1942 in which 13 Jewish prisoners from a concentration camp were promised freedom if they appeared in a German propaganda film. Unfortunately, the Germans lied. The psychological process undergone by the modern filmmaker while shooting the story provides the basis of this arty and challenging film.

Flag of DEDEFlag of CHCHGerman
Content warning

Standout Aspects

Acting

Tony Curtis's final dramatic role, unexpectedly raw

Direction

Brasch blurs past and present until you can't breathe

Writing

Script interrogates its own existence as Holocaust cinema

Best for:Solo: For when you want to spiral alone at 2am·Rewatch: Layered enough to unravel across multiple viewings·Theater: Demands your undivided attention
Heads up:Disturbing: Concentration camp reenactments with meta-cruelty layered on top·Emotional: The 1942 prisoners' fate is never in question
Thomas Brasch

Director

Thomas Brasch

ReleasedMay 4, 1988
Runtime1h 38m
StatusReleased

Vibe

Paceslow
Intensityhigh
Tonedark
Feelheavy
Film4 Productions
ZDF

Top Cast

Tony Curtis

Tony Curtis

Mr. Cornfield

Katharina Thalbach

Katharina Thalbach

Sofie

Matthias Habich

Matthias Habich

Körner

Alexandra Stewart

Alexandra Stewart

Mrs. Cornfield

Karin Baal

Karin Baal

Frau Tenzer

Charles Regnier

Charles Regnier

Silbermann

Gedeon Burkhard

Gedeon Burkhard

Janko

Peter Lohmeyer

Peter Lohmeyer

1. SS Mann

Irm Hermann

Irm Hermann

KZ-Kommandantin

Leslie Malton

Leslie Malton

Freundin

Harry Baer

Harry Baer

Grenzbeamter

Anna Thalbach

Anna Thalbach

1. Mädchen

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Deep Dive

Trivia, insights & behind the scenes

Trivia

Curtis took this role specifically to escape his 'Some Like It Hot' image, working for scale in Berlin.

Cultural

Brasch was blacklisted by East German authorities; this was his first West German production, making the film's meditation on artistic freedom deeply personal.

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