Germany Year Zero
Why this pick
Like Europe '51, Rossellini turns postwar city life into an unvarnished moral landscape, following private anguish with a grave, compassionate realism.
A FILM WORTH A CLOSER LOOKTHE FEATURE PRESENTATION
IF THIS ONE STAYED WITH YOU
Keep the feeling.
SIMILAR PICKS / A PERSONAL CONNECTION
Why this pick
Like Europe '51, Rossellini turns postwar city life into an unvarnished moral landscape, following private anguish with a grave, compassionate realism.
Why this pick
Its stripped-down observation of a person isolated by modern urban society closely matches Europe '51’s humanism, emotional severity, and attention to small acts of care.
Why this pick
Rossellini’s serene, episodic portrait of humility and service shares Europe '51’s movement away from privilege toward an urgent, spiritual compassion.
Why this pick
A quietly devastating neorealist view of Rome’s housing poverty, it echoes the social conscience and patient, street-level observation that reshape Irene’s world.
Why this pick
Olmi’s restrained account of separation, factory work, and emotional dislocation offers the same austere empathy for lives pressed by an indifferent modern society.
Finding the atmosphere, tension and little details that made this one stay with you.
Our curator needs a little longer. Please come back shortly.
No confident matches yet. Try our personal film finder.
01 / THE STORY
Industrialist George Girard (Alexander Knox) and his wife Irene (Ingrid Bergman) are a wealthy couple living in post-war Rome with their son Michele (Sandro Franchina), and they host so many parties that their son feels neglected. During a dinner party, Michele constantly tries to get his mother's attention, but Irene is more interested in being a good hostess to her guests than an attentive mother, and as a result Michele attempts suicide by falling several stories down a stairwell, fracturing his hip.
Showing saved details. Some information may be out of date.
02 / FACES IN THE FRAME
George Girard

Irene Girard