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In the Fade(Aus dem Nichts)

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Germany, France · 2017
Rated R · 1h 46m
Director Fatih Akin
Starring Diane Kruger, Denis Moschitto, Numan Acar, Johannes Krisch
Genre Crime, Drama

After her husband and son die in an attack, Katja struggles to cope as she searches for answers. When two Neo-Nazis are put on trial for the attack, Katja's testimony is dismissed in court. Frustrated with the justice system, she tries to find another path.

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What are critics saying?


Village Voice by Bilge Ebiri

Akin holds nothing back, and Kruger, starring in a German film for the first time in her career, brings the grief and anger and pain to life — never overdoing any of it, yet refusing to submerge it.


Slant Magazine by Chuck Bowen

In the Fade is executed with precision, particularly the third act, in which the film morphs into a tense yet unconvincing revenge thriller.


The Hollywood Reporter by Deborah Young

Following the fizzle of his coming-of-ager Goodbye Berlin (Tschick) last year, Fatih Akin bounces back and bounces high with an edge-of-seat thriller inspired by xenophobic murders in Germany by a Neo-Nazi group.


Variety by Jay Weissberg

Diane Kruger’s powerhouse performance in her first German-language production goes a long way toward compensating for the narrative’s dip into overly crystalline waters.


CineVue by John Bleasdale

There's something highly familiar about the material and although it is artful and occasionally powerful, Akin and co-screenwriter Hark Bohm have constructed their story without straying far from countless other versions of the same thing.


Movie Nation by Roger Moore

Like life after a murder, there is no “happy” ending, no thrilling feeling of justice served. In the Fade is that rare thriller which finds more to mull over in the culture clash — within Germany, within the Turkish expatriate community, and between German justice and American expectations, between German storytelling and Hollywood endings.


The Film Stage by Rory O'Connor

It’s a solid stab at the socially conscious mainstream flick for Akin, especially after he faltered somewhat with his last political film.


Screen International by Wendy Ide

Doggedly conventional in its approach, the film walks an uneasy line between unflinching honesty and crass emotional exploitation, before tipping into the latter in a questionable final act.

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