Fatherland marks the third film in Pawel Pawlikowski’s unofficial trilogy examining the Cold War through the experiences of individuals navigating the divide between Eastern and Western Europe. In Ida (2013), he explored it through the eyes of a young Polish nun who uncovers a family secret rooted in the Second World War. Cold War (2018) followed the turbulent romance between two people who seem both fundamentally different and remarkably alike in a relationship shaped by the political realities surrounding them. His latest feature, Fatherland , turns its attention to German writer Thomas Mann (Hanns Zischler, Munich ) and his daughter as they return to Germany in the aftermath of the Second World War. They find the nation in ruins and divided into two. While Fatherland is elegantly crafted and consistently intriguing, it may also be Pawlikowski’s most emotionally distant film to date.

But as with all of Pawlikowski’s previous films, Fatherland is also remarkably restrained. Bathed in beautiful black-and-white cinematography, the film follows Mann and his daughter Erika (Sandra Hüller, Anatomy of a Fall ) as they travel through both West and East Germany. The filmmaker’s camera is often static, observing conversations from afar, or quietly trailing behind the pair as they wander through the ruins of a shattered nation. On the surface, the filmmaking is deceptively simple, yet the film is rich with thematic intrigue.

At its core, Fatherland explores the experience of returning home after war has fundamentally altered it. Historically, Mann exiled himself from Germany after Hitler rose to power, making his return in 1949. While he is scheduled to accept a prestigious award, he is equally interested in revisiting the country he once knew. The problem is that Germany is no longer recognizable. It has been literally divided in two—with one side controlled by the Allied forces and the other by the Soviet Union. Even as cultural institutions celebrate Mann, they attempt to mold him into a figure who supports their own political narratives.

Erika recognizes the ideological tug-of-war surrounding her father, dismissing the competing sides as “Mickey Mouse or Stalin.” Yet when tragedy strikes, the divide between father and daughter becomes increasingly apparent. Erika wishes to cancel the remainder of the tour, while Thomas insists on continuing. The disagreement gradually drives a wedge between them, much like the divided nation they are visiting for the first time in nearly 15-years.

Despite its lean 82-minute runtime, Fatherland is packed with thematic depth and cinematic layers. However, its brevity ultimately works against it. Pawlikowski’s trademark restraint, while often effective, occasionally prevents the film from reaching its full potential. There are moments when the story feels as though it could benefit from additional development, emotional weight, or simply following these characters a bit more.

But with that stated, it is hard not to be captivated by Fatherland . Anchored by exceptional performances from Sandra Hüller and Hanns Zischler, the film remains engaging throughout. While its restrained approach and short runtime may leave viewers wanting more, Fatherland is nonetheless a compelling and thought-provoking piece from Pawel Pawlikowski.

Fatherland screened at the 2026 Cannes Film Festival, where it won the Best Director prize. The film will hit theatres this Fall.