Review of Undine (2021) by Peter Debruge for Variety — 28 Feb 2020

There’s a stylistic and narrative elegance to Petzold’s approach, with its clean lensing and repeated use of a single piece of music (the rolling piano Adagio from Bach’s Concerto in D Minor, BWV 974), that suggests restraint, where a queer filmmaker might have propelled things into camp territory.

In a way, it’s a shame that Undine stops short, since the material feels thin, and the statement as murky as the lake to which the camera ultimately returns.