Miroirs No. 3 – ALLIANCE OF WOMEN FILM JOURNALISTS

MIROIRS NO. 3 – Review by Diane Carson

April 21, 2026April 26, 2026 Diane Carson Adriana von Franqué, Barbara Auer, Christian Petzold, Hanns Fromm, Miroirs No. 3, paula beer

A tragedy lies at the heart of German writer/director Christian Petzold’s Miroirs No. 3. Surviving a catastrophic car crash in a rural area, Laura (Paula Beer) accepts the support and comfort provided by Betty (Barbara Auer), a nearby resident who struggles to reclaim her own emotional health as much as she helps Laura cope with her languor. That is to say that the recent death of Betty’s daughter has left her as uninterested in life as Laura seems to be. Both experience an omnipresent ennui. Shaken from the accident, distraught, Laura asks to stay with Betty, who agrees. Thus begins a psychological drama of initially mystifying bonds and haunted memories.

Festivals

New York Film Festival 2025 Roundup – Margaret Barton-Fumo reports

October 15, 2025October 24, 2025 Margaret Barton-Fumo A House Full of Dynamite, A Private Life, After the Hunt, claire denis, Duse, Geeta Gandbhir, Jodi Foster, kathryn bigelow, Miroirs No. 3, New York Film Festival, nina hoss, NYFF 2025, Rebecca Zlotowski, Renate Reinsve, Sentimental Value', the fence, The Perfect Neighbor, Valeria Bruni Tedeschi

This year, the 63rd annual New York Film Festival boasted an impressive roster of women-produced and women-prominent features, spanning across a variety of different genres. In general, this year’s more anticipated, big-ticket films turned out to be less remarkable than some of the quieter releases, as we’ll address in this roundup. The festival opener, for example, Luca Guadagnino’s After the Hunt, while an apt showcase for Julia Roberts, was a coolly received treatise on cancel culture told from within the confines of the ivory tower of academia. Other films in the Main Slate, like Kelly Reichardt’s The Mastermind and Joachim Trier’s Sentimental Value, while more understated features, received greater praise from audiences and critics alike.