Synopsis
Katja's life collapses after the deaths of her husband and son in a bomb attack. After a time of mourning and injustice, Katja seeks revenge.
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Cast
- Diane KrugerKatja Sekerci
- Denis MoschittoDanilo Fava
- Numan AcarNuri Sekerci
- Johannes KrischHabberbeck
- Ulrich BrandhoffAndré Möller
- Hanna HilsdorfEdda Möller
- Ulrich TukurJürgen Möller
- Henning PekerHauptkommissar Gerrit Reetz
- Laurens WalterKommissar Fischer
- Uwe RohdeMichi
Recommendations
- 90
Village Voice
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. - 80
The Hollywood Reporter
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. - 75
Movie Nation
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. - 70
Variety
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. - 67
The Film Stage
It’s a solid stab at the socially conscious mainstream flick for Akin, especially after he faltered somewhat with his last political film. - 60
CineVue
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. - 50
The Playlist
Sadly, the core of ‘Fade’ is essentially banal, and the narrative is too blunt and inert to make any kind of lasting impression. - 50
Screen Daily
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.
