Bruno Ganz delivers an exceptional performance as the Führer in this depiction of his final days in Berlin. Those who viewed George Schaefer's version from 1981, featuring Anthony Hopkins, will likely be familiar with the events portrayed here; however, this film adopts a less sensational and more realistic tone. The fact that viewers are aware of just how unstable his circumstances were certainly contributes to the overall effect, but Ganz convincingly embodies a man who truly believes victory is still possible. His close advisors lack the bravery to inform him of his defeat, and those who do recognize it are frequently preoccupied with safeguarding themselves. The supporting actors, including Corinna Harfouch as Goebbels’ wife and Juliane Köhler as Braun, along with Alexandra Maria Lara in the role of secretary Trudi, all contribute to maintaining a surprisingly relatable sense of humanity throughout the timeline. It presents a humanization of their situation; while we understand that evil resided here, it more clearly illustrates a man who is unwell – both physically and mentally. This isn't intended as an excuse for his actions, but it does offer a degree of understanding amidst historical accounts that unequivocally condemn him. The film isn’t primarily concerned with Nazism or the politics of hatred; we enter the story too late for those themes to be relevant. Instead, it focuses on the realization of failure, the ensuing panic, and even the unexpected level of devotion from lower-ranking individuals who were his genuine followers. Oliver Hirschbiegel also effectively demonstrates the influence of indoctrination through scenes of children under the age of thirteen eagerly participating in the city’s defenses while proudly displaying their swastikas. A bit more consideration might have prompted officers to allow them to return home to their families instead of confronting the advancing Soviet forces. The way all these elements converge toward a carefully paced conclusion lends considerable credibility to the narrative. The production design and visual effects, which depict the city's destruction, effectively mirror the psychological breakdowns occurring beneath the surface. While it’s rare to encounter a film that attempts this level of impartiality regarding such events, it is certainly a moving way to witness a destructive man bring about his own downfall.

Source on TMDB