On a weekend trip to the countryside, Laura (Petzold’s frequent collaborator Paula Beer) miraculously survives a car crash. Physically unhurt but deeply shaken, she is taken in by a local woman who witnessed the accident and now cares for Laura with motherly devotion. When her husband and adult son also give up their initial resistance to Laura’s presence, the four of them slowly build up a family-like routine. But soon they can no longer ignore their pasts. “The pleasurable enigma of Miroirs No. 3, named for a Ravel piano suite, returns Petzold to the metaphysical ambiguity of earlier films like Yella and the themes of doubling in his cherished Phoenix, yet with a distinctive ethereality all its own: It’s an economical and beautifully crafted work about the mystery of human interaction” –Film at Lincoln Center.