Greetings again from the darkness. As we are unfortunately learning yet again … there are no upsides to war. There are the deaths and injuries that occur to soldiers and citizens. There is destruction of property and cityscapes. And there is the cost to those who are neither soldiers or government officials – the ‘quiet cost’ of war. Writer-director Silvio Soldini (BREAD AND TULIPS, 2000) and co-writer Doriana Leondeff have adapted the 2018 award-winning novel, “At the Wolf’s Table”, by Rosella Postorino, which itself was based on the remarkable story WWII survivor Margot Wolk told a German journalist about her time spent as a food taster for Hitler.
It’s the fall of 1943 and Rosa Sauer (Elisa Schlott) is returning to her in-laws’ farm in East Prussia from a bombed-out Berlin. Rosa’s husband, Gregor, enlisted one month after their wedding and they’ve seen each other only once in the past four years. An atmosphere of gloom hangs over the village, and one morning changes everything for Rosa. Nazi soldiers load her into a van with other German women. They are escorted to the ‘Wolf’s Lair’ in the forest … it’s the Fuhrer’s headquarters. The seven women are examined by a doctor and then escorted into a dining room where a feast awaits. Having spent months, even years, desperate for food, the chef-prepared meals create initial excitement with the women. The excitement quickly turns to dread and fear when it is revealed they are to eat every bite of the meal and then wait one hour under guard. The purpose is to make sure the food is not poisoned prior to Hitler eating.
Director Soldini fills the screen with greys and browns to match the atmosphere of despair and fear. The slow pacing lends credence to the women’s days of wondering if the next meal will be their last. Abortion, hidden identities, and an affair all play a part in what is little more than an attempt to survive for however long the war might last. The seven women form bonds, yet no one is ever relaxed or comfortable. Rosa is initially referred to as “Berliner” since she arrived from the big city. She’s told, “This isn’t Berlin.” “No one needs secretaries.” Rosa is tougher than she looks and holds her own, soon making friends with Elfriede (Alma Hasun), a woman with a secret.
Atypical for a war movie, there is little action and minimal violence. Not much time is spent getting to know the personalities of the women. Instead, it’s a different kind of survival story – one that involves psychology and self-control. Their thrice daily activities require immense mental fortitude, yet the alternative is even worse. Whether Margot Wolk’s story was completely accurate or not, matters little. It’s a story of those with power versus those with none. And that’s a theme that plays out daily even eighty-plus years later.
In U.K. and Irish theaters beginning March 13, 2026
Posted by David Ferguson 
Greetings again from the darkness. Alexis Lloyd was inspired by Irvin D Yalom’s 2005 novel, “The Schopenhauer Cure”, to create his web series, “Group”, as well as this follow-up feature film, which he wrote and directs. I have not watched the series, but Lloyd backs off a bit on the life and death focus for the film, choosing instead to allow the sometimes chaotic elements of group therapy to guide the way.
Greetings again from the darkness. We are all well aware of what entitlement looks like, and in this documentary, co-directors Gabriel London and Charlie Sadoff take a look at what the other side can look like. These students are born into high-risk areas – crime and poverty surround them, and education is not always a priority. It’s the Washington Urban Debate League that opens doors for these students.
Greetings again from the darkness. Starting over in life is really a misnomer. We like the phrase ‘new beginning’, but in fact, it’s just the next phase in our journey called life. Still, a significant break or traumatic event can certainly change one’s outlook and that’s what Amy Landecker (“Your Honor”) examines here with her feature film directorial debut. In addition to directing, Ms. Landecker also wrote the script, produced the film, and has the lead role.
Greetings again from the darkness. I became a Universal Monsters fan as soon as I reached the age where my parents would let me stay up to watch the later horror movies on Fridays and Saturdays. That love for the films and the stories and the monsters has only grown over the years, so you can only imagine the excitement I held for this film … especially on the heels of last year’s impressive FRANKENSTEIN from visionary Guillermo Del Toro. When my movie hopes and expectations reach this level, disappointment often follows; however, not this time!
Greetings again from the darkness. Writer-director Jethro Waters’ previous work includes a documentary, some short films, and music videos. He describes his first narrative feature film as a semi-autobiographical dark comedy … yet after watching, that description seems a bit oversimplified (not that I have come up a better label). Visuals are key to his presentation, while traditional story structure is not. It will mess with your mind a bit.
Greetings again from the darkness. SUNDOWN (2021) was an underrated film from writer-director Michael Franco who, this time out, attempts to tackle a few more complex issues involving immigration, class, and cultural differences. The result is a mixed bag that, without the presence of Oscar winner Jessica Chastain, likely would have fit right in to the old ‘Showtime After Dark’ series.
Greetings again from the darkness. We don’t always know what ignites a particular passion in someone; however, Joe Jennings has the card so many husbands mistakenly play … only his is accurate and beyond debate. Jennings can blame his wife, Sissy, for this decades long passion for ‘camera flying’. Although it was his father who sparked the interest in photography, it was Sissy who first convinced Joe to skydive. The rest is X-Games and cinematography history. Maura Strauch (SUNSHINE SUPERMAN, 2014) and Bryce Leavitt (directorial debut) have found their profile of Joe Jennings to be well-received on the film festival circuit.
Greetings again from the darkness. “Glory, Glory, Hallelujah.” As Elvis sings “The Battle Hymn of the Republic”, the combination of the lyrics and his voice send chills. We listen as Elvis states he’s never had the chance to tell us his story in his own words. Director Baz Luhrmann discovered hours of previously unheard audio and unseen video recordings while researching his 2022 film, ELVIS. He has masterfully edited this into a fascinating portrait of the King of Rock ‘n Roll, with an emphasis on his multi-year run at the Las Vegas International Hotel.
Greetings again from the darkness. That electric smile with the front tooth gap always seemed to accompany the amazing keyboard work of the great Billy Preston. This superb documentary from Paris Barclay proves the musicianship was otherworldly, but also that the Billy Preston smile often hid the pain, hardship, and history of the man.
Movie Reviews from the Dark 