when young couple Hans and Hilde are sitting with friends around a lakeside campfire and Hans asks Hilde what scares her. “Everything,” she replies. “Spiders, beetles, the Nazis, my dentist. Love.”
Instead, we are taken via flashback to idyllic scenes of picnics and campfire parties where we see groups of young people in love, dreaming of marriage and family and acting against the Nazis almost as an afterthought, albeit courageously. “It was very important to show that everybody involved in the story was a human being,” says Dresen, who grew up in East Germany where the Red Orchestra, as the resistance fighters were later dubbed, were framed as unattainable God-like superheroes.
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