The narrative centers on authentic individuals, presented across two distinct periods in time. A darker sequence reveals that Hilde (Liv Lisa Fries) has been taken into custody by the Nazis and incarcerated for supporting her husband Hans (Johannes Hegemann), who was involved with efforts to establish an independent Germany within wartime Berlin. The other storyline depicts their romantic summer. We are introduced to them and their circle, observing their courtship through marriage and the conception of the child she is now carrying while held captive. Fortunately, despite a disturbing initial period during her imprisonment and the birth process, Hilde—previously employed as a dental nurse—forms a connection with her guard, Miss Kühn (Lisa Wagner), gradually gaining her friendship and securing permission to care for her newborn son. As these two plotlines converge, it becomes clear that the government’s cruelty wasn't limited to external adversaries, and any signs of dissent among its own populace were met with harsh suppression. Fries gives a notably strong performance; however, due to the manner in which the story is structured, there's surprisingly little sense of danger throughout, something I felt was lacking. The film has aspects reminiscent of television dramas that, for me, diminished its impact as it continued. It seems perhaps to assume viewers are already aware of how dreadful and poisonous the regime was, but this element feels underdeveloped, which prevents the movie from maintaining a feeling of real threat. The cinematography is naturalistic, effectively contrasting their idyllic life with their imprisonment, and the narration—drawn from letters—adds an air of genuineness to their ordeal. It's visually appealing, but dramatically it falls somewhat short.

Source on TMDB