Paula Beer on ‘Mirrors No. 3,' Her Fourth Film With Christian Petzold and His Ensemble Approach
The Match Factory closed multiple international deals for the movie just before Cannes.
More from The Hollywood Reporter
Film AlUla: "Saudi Filmmakers Are Like the Crown Jewels for Us"
Palestine Film Institute Drums Up Support in Cannes - for Films and Gaza
Michael Che Apologizes to Scarlett Johansson for Infamous Roast Beef Joke: "I Was Jealous"
Beer, who has also made a name for herself with the likes of François Ozon's Frantz (2016), Florian Henckel von Donnersmarck's Never Look Away (2018), won the Silver Bear for best actress at the Berlin International Film Festival and the European Film Award for best actress for her role in Undine.
In Mirrors No. 3, Beer plays piano student Laura. 'On a weekend trip to the countryside, Laura miraculously survives a car crash,' reads a synopsis of the film. 'Physically unhurt but deeply shaken, she is taken in by a local woman who witnessed the accident and now cares for Laura with motherly devotion. When her husband and adult son also give up their initial resistance to Laura's presence, the four of them slowly build up a family-like routine. But soon they can no longer ignore their past.'
Barbara Auer, Matthias Brandt, and Enno Trebs are also part of the ensemble cast.
Ahead of the film's premiere, the 30-year-old Beer talked to THR's Georg Szalai about her latest team-up with Petzold, why she likes working with him, her approach to acting, and why she dislikes movies with open endings.
You have worked with Christian Petzold several times now and also have experience with the other actors in since they are also Petzold regulars. What do you like about his approach and his sets?
The very special thing about working with Christian is that we're working like an ensemble. You know the people you're going to work with, and not only the cast members. It's also the crew who are always the same, or at least the head of is always the same. So you really come into a very familiar situation, and that, of course, helps a lot in opening up and having a feeling of trust during your work. Most of the time, when you go to a shoot, there are so many people, sometimes hundreds of people, and you need to get to know them. If you already know them and don't … need to build trust, of course, that helps you as an actor to be more at ease.
Christian is always doing, or most of the time only doing, one take. Most directors, because we're shooting with digital cameras and you can do as many takes as you want, they do more, which doesn't necessarily cost more. So he's really into one take, and it's really concentrated and precise. But of course, that puts a lot of pressure on you, because you only have this one shot.
So on the first shoot for Transit, I was still asking myself: 'Is that going in the right direction, or do I really feel comfortable in this style of working, or does Christian really like what I'm doing?' And now that we have done four films together, I don't have these questions anymore. Our relationship has developed a lot. I think we have a very good relationship where we trust each other, and at the same time, we can make jokes about each other, and it's not too serious. So sometimes I'm going to Christian saying, 'Well, I think we should do a second take. For me, it wasn't the best take.' And then he's like: 'Yeah, okay, you can have a second one.' And then most of the time he says: 'Okay, you were right. It's good. We'll take the second one.'
So, for me, it feels more like a collaboration. Most of the time during shooting, I do feel that as an actor, I'm in this chain of where the story comes from. There's a head in front of me who has the story in mind, and I'm helping make this vision come alive, but I'm part of making it come alive.
Do you still read scripts he sends you or just go for any role he has in mind for you?
Just because we have done four movies already doesn't mean I will be in the next one, because I'm afraid that that could lead to a huge disappointment. So I always say to him, I need to read the script. And normally, he starts talking about his next projects during the shooting of the last one. So he always has an idea of what he's going to do next. And then we always have this little moment when he says: 'I'm thinking about this idea for my next movie.' And then he sums up the story in five minutes and gives me a mini pitch. And then he's like: 'What do you think? Do you like it?' And then I say: 'Yeah, I mean, these five minutes sound good. So he's really letting me in and sharing his thoughts and his process.
But then, of course, he writes it on his own and sends me this book when it's ready. Christian's scripts are really special because they feel more like literature. Normally, scripts are quite technical. I really love reading his scripts. You sit down and you read the novel, but I still need to understand it, or [see] if I understood correctly what you want to tell with that story, because I can have my interpretation. So I need this check-up to know if you're on the same page to tell the story.
It was the same with Mirrors No. 3. I had some questions or ideas or input for some scenes, and then we talked about it, and he adopted it – not 100 percent but we met in the middle.
Laura seems full of trauma and emptiness, like she is maybe missing true connections or something else in her life. And your portrayal evoked quite contradictory emotions. You leave viewers with a lot of complex feelings. How did you approach Laura?
I think it starts with the way Christian writes his books. I always feel that it's a story about a human being, and human beings are super complex and not easy to understand. And that's always the difficulty. When I start preparing for Christian's movies, it feels like a story about someone, and it's not a fictional character. It's really more about a human being, and [I try] to grab and understand this human being to build a character. You can't understand all parts. The characters Christian is writing are always 'she's somehow like this, but then she's like that,' and I have to build a bridge between them.
Comparing when I first shot with Christian to [later work together], I realized my acting was changing, because I really feel at ease, and I'm trusting him a lot. I feel really safe shooting these movies, and there's never pressure, or you never have this moment of 'we need to proceed, because we don't have enough time.' I think that how Christian writes his books, and how he starts shooting, how the production organizes the shoots, affects a lot how the movies are in the end. And I think that helps to create characters that are not flat.
We really have the time to develop that on set. I think before working with Christian, I was really precise and kind of a perfectionist when it came to my preparation for my characters. And now working with Christian, I realized that it's not all about being perfectly prepared, but also about being brave enough to open up completely on set and maybe do something that you would have never expected, or that wasn't your idea for the scene for that very day.
Shooting with Christian is also about reacting very spontaneously to what happens in that very moment. And I think that helps a lot to create a complex human setup, because every day is different. And if you're not trying to pretend that it isn't like that, but you just accept that every day is different, I think it influences the character. So, I don't have a master plan to have a super-complex character. But there are so many topics inside of Christian's scripts, such as, as you said, trauma and emptiness and grief or lack of grief or not being able to accept feelings or feelings lost.
When I saw the movie title (), I thought: 'Wait, isn't this the title of a musical piece?' But I had to look up details and found that it is part of a five-movement suite for solo piano by French composer Maurice Ravel. (Entitled 'A Boat on the Ocean,' it was written to evoke a boat sailing on the ocean.) Did you know anything about music or learn anything about it for this role? And does th
I do play the piano, and started having lessons when I was six. It would have been different for me if [my character] played the flute or something. I would have been: 'I don't even know how to hold it.' And I do know Ravel, but I've never played Ravel because that is quite above my league. I'm not able to play Ravel because it's a masterpiece. But I've learned the beginning, so what I'm playing in a scene, I'm actually playing. But for me, it was really important to have this connection to the piano, because Laura, of course, is studying the piano. I think people who nowadays study a classical instrument have a certain thing in common, and that you can't ignore.
I had a great teacher for my preparation. She finished her master's and played Ravel as well. It helped a lot seeing her play, and I had to watch piano players a lot, because I think how you play your instrument says a lot about your relationship to the instrument. In one movie, I played a ballet dancer. Now a piano student, and sometimes it does feel like a burden, because you're an actor, and my job is to pretend to be someone who's perfect at doing that. I wanted to create the image of a piano student, but that comes with the pressure of fulfilling what piano students are able to do, and I can never do that. But getting a feeling for what their love for this instrument, or their passion, or their frustration, is like, I think that's my job. So I focus mostly on the emotional part, because I don't want to create too much pressure for myself, because in the end, it's a movie, and we're creating images, and, of course, feelings through these images.
You mentioned pressure. I remember that French auteur Francois Ozon once described you as 'the next Romy Schneider,' which is a huge compliment, especially in the French- and German-speaking worlds. Was that joy or pressure? How did you experience that comparison?
I think they said that a lot in France, and I just took it as a compliment. I think if you do comparisons, it's always because you want to make something strange more familiar. I don't think I look like her. I make different things. But I'm German. She was German. And she went to France, so that's what we have in common. If they look at my [acting] and they feel reminded of her, of course, that's a huge compliment. Maybe it's because I started shooting when I was really young that I didn't take this as pressure.
I had one shoot, and a few days before the first day, I thought: 'I have no idea why they picked me, and I absolutely don't feel ready to play this, and I don't know if it's going to be good.' And then I thought: 'Well, they decided to take me. I didn't ask them to make me play the role. So if I'm going to fuck it up, it's actually their problem and wrong decision.' And I kind of kept that [perspective].
But for me, pressure comes on set because you know that you only have a certain amount of time, and you know that everyone expects you to be good within this time frame. You only have these two or three hours, and with the angle or [type of shot], maybe 20 minutes. And if you're not brilliant in these 20 minutes, then your shot won't be. So, I feel making movies is about being ready at the right time. And of course, that is pressure, and you have to be able to deal with that.
Christian Petzold's movies tend not to end in a way that puts a bow on things but leaves things more open for interpretation. How do you feel about the endings of movies?
Personally, I hate open endings. I have gotten better, but I had a time when I never finished novels and always left 50 to 70 pages at the end, because I don't like when a story comes to an end and you don't like the ending. I prefer to stay in the vibe. Actually, the ending to Mirrors No. 3 is different from the [original] script. I remember we were meeting Christian before the shoot and talking about the ending.
I said maybe it's a bit too pathetic [or dramatic] and doesn't really fit the vibe of the tragedy of this character. During the edit, Christian realized that the ending isn't working. So we shot the new ending in January of this year.
Has he already pitched you on your fifth movie together?
I know Christian's next idea. Maybe he's thinking of me for it, but I'm not sure if it's clear to him. I really like the story, so who knows?! For now, nothing is set.
Best of The Hollywood Reporter
Hollywood's Most Notable Deaths of 2025
Harvey Weinstein's "Jane Doe 1" Victim Reveals Identity: "I'm Tired of Hiding"
'Awards Chatter' Podcast: 'Sopranos' Creator David Chase Finally Reveals What Happened to Tony (Exclusive)
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
3 hours ago
- Yahoo
Five Dudley Borough pubs named among top 500 in England
FIVE pubs from across the borough have featured in the top 500 pubs in England, according to a guide published in a national newspaper. The Telegraph has published its list of the 500 best pubs in England, with five of them hailing from Dudley. Expert Will Hawkes curated the list based on their charming character, welcoming staff, history and award-winning beer, The Telegraph says. With drinking holes from Sedgley, Dudley, Brierley Hill and Stourbridge featured, Dudley boozers counted for one per cent of all the pubs in the list – quite a feat when considering the size of the borough compared to England as a country. One of the five was The Robin Hood in Amblecote, described by Hawkes as 'probably the best of the town's pubs in terms of atmosphere and beer, which is invariably in peak condition.' He said: 'The Black Country can be a bit confusing, geography-wise, but things are simple when it comes to pubs. 'They tend to be good, and they're particularly good in Amblecote.' A stone's throw away lies The Unicorn in Wollaston, which also features on the list. Highlighted for being a 'small and cosy' spot, Hawkes said visitors to The Unicorn should expect 'robust and often entertaining conversation, filled cobs (roast pork on Saturdays), and a deep sense of contentment'. The Beacon Hotel in Sedgley is perhaps one of the most well-known in the whole Black Country, so it is unsurprising that it too featured in the top 500 guide. Home of the award winning Sarah Huges Brewery, this historic drinking hole was described as 'a Black Country pub that doesn't feel like it's changed much since the Victorian era', creating an atmosphere like not many others. From being crowned the Best Pub in the West Midlands by The Telegraph earlier this year to winning the CAMRA Dudley Pub of the Year for 2025, The Bull and Bladder (or as it is known to the rest of the country officially, The Vine), has been basking in well deserved success this year, so it was to be expected for it to feature in the list. Hawkes said: 'The Black Country has more high-quality pubs than pretty much any other bit of Britain. 'The Vine Inn (known locally as the Bull and Bladder) is perhaps the best because it's handsome, good value, and, most importantly, is attached to one of England's great old breweries, Batham's.' The fifth and final local boozer to make the cut was the historic Old Swan Inn in Netherton, known for its beer brewed on site and its beautiful, ornate enamel ceiling. In his description, Hawkes called it an 'unmissable' pub which has a charm that 'feels more authentically Victorian than any other you'll find in England'. To view the full list of pubs, visit


Newsweek
7 hours ago
- Newsweek
Couple Adopt Puppy From Shelter, DNA Reveals Unbelievable Mix
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. When dog owner Milly, from Ohio, posted photos of her 5-month-old dog Bess online, she wasn't expecting the flood of admiration that followed. "We keep getting asked if she is a 'designer dog' but we really just lucked out with the shelter," the owner said in a Reddit post with thousands of upvotes and more than 100 comments. An unusual mix of Siberian husky and golden retriever, Bess has the classic markings of a husky with unmistakable long fur and floppy ears of a golden retriever. Bess is more than just photogenic. She's the emotional bridge for Ellie, Milly's 6-year-old German shepherd who had suffered years of abuse under a backyard breeder. When Ellie arrived at the family's home in 2024, she had endured multiple litters and was emotionally struggling. "Ellie would howl and cry every time she saw a puppy, so we decided she needed one of her own. We began searching through the local shelter websites and came across Bess' litter in April of 2025," Milly, who didn't give a surname, told Newsweek. Pictures of Bess, the unusual mixed breed who often gets mistaken for a designer dog. Pictures of Bess, the unusual mixed breed who often gets mistaken for a designer dog. OhioIsForCats/Reddit Bess and her litter were born at our local Humane Society and were featured at an adoption event in May. They didn't last long as her entire litter was adopted out within 30 minutes. "We knew from the website that she was a retriever mix, and the coloring showed she was likely some type of husky as well," Milly said. "We did a doggy DNA swab and found that she is 50 percent golden retriever with the rest being mostly Siberian husky and a little border collie, as well." In the comments on Reddit, people couldn't get enough of Bess' unusual looks. "Wow! She's gorgeous!!! Those markings and that face," said one commenter. While another said: "So cute. 50 percent golden, 50 percent husky, 110 percent shedding machine." Beyond the aesthetics, Bess is a sweet soul. She's already mastered five speech buttons to communicate with her humans—and has a penchant for full-body tail wags any time she spots someone new. "She's too cute not to share. The reactions online were very similar to what we see in-person: absolute gushing over her cuteness," Milly said. "It's lovely to see how much people love Bess. She is not only a beautiful puppy, but she is so sweet and smart, too." This isn't the first time a rare dog breed mix has impressed people online. A half basset hound and half English bulldog captured viral attention previously on Reddit, while another unusual breed mix left people guessing after the owner shared pictures on the internet. Do you have funny and adorable videos or pictures of your pet you want to share? Send them to life@ with some details about your best friend, and they could appear in our Pet of the Week lineup.

18 hours ago
Vandals set fire to a mouse statue that's a TV star and mascot for a German broadcaster
BERLIN -- Vandals set fire to a mouse statue that's a TV star and mascot for children's programming at German broadcaster WDR, the television station said Saturday. The cartoon mouse, known only as 'Die Maus,' is the eponymous star of 'Die Sendung mit der Maus' (The Show with the Mouse) since it first aired in West Germany in 1971. Each short episode features other languages and educational segments. The statue — featuring the character's famous orange body with brown ears, arms and legs — greets families and children outside a media building in Cologne, Germany. A receptionist for WDR saw several young people standing around the statue in Cologne on a camera feed overnight Friday into Saturday. She then noticed flames and called the fire department, WDR said. The fire blackened parts of the mouse's face and arm, images show. The station said a police complaint had been filed against an unidentified person. Matthias Körnich, head of children's programming for WDR, said it's not just a figurine that was damaged. 'A piece of childhood, a symbol of joy and togetherness has been attacked,' he said. 'The mouse belongs to Cologne.' The mouse statue isn't the first German TV character to be attacked. In 2009, the statue of a depressed German loaf of bread named Bernd das Brot (Bernd the Bread) was stolen from his traditional place outside the town hall in Erfurt, where German children's public television channel KiKA is based. Bernd, a cult classic in Germany, was held hostage for nearly two weeks before being discovered unharmed in an abandoned barracks.