Daniel Brühl performs well in this improbable but diverting drama. He portrays a man whose mother (Katrin Sass), a proud citizen recently honored for her socialist dedication, lives with him and his sister, “Ariane” (Maria Simon), in East Germany. However, it’s 1989, and the Honecker regime is visibly crumbling; protests are occurring, and among those involved is “Alex.” When he's arrested during a demonstration, she attempts to intervene but falls into a coma as a result. He’s quickly released, and subsequently, he, his sister, and her boyfriend must carry on while she remains in the hospital. After some time, she regains consciousness. Medical professionals have suggested that she needs rest and tranquility, so her family decides that informing her about the fall of the Berlin Wall and the possibility of acquiring a Trabant instead of a VW might not be advisable at this point. The challenge of concealing such significant events from her becomes even more apparent when they are constantly displayed on television. To manage this, he enlists the assistance of her nurse/girlfriend “Lara” (Chulpan Khamatova) and his imaginative friend "Denis" (Florian Lukas, who frequently steals scenes), and soon she’s being fed familiar meals, their apartment is restored to its 1980s aesthetic, and they are manipulating television broadcasts to showcase only the achievements of the DDR. Nevertheless, the question arises: how long can this deception last? Eventually, she will likely desire to go outside or even glimpse through a window. Despite occasionally veering into absurdity, the film explores the lengths one might go to protect someone from distress and suffering; as the situations become increasingly outlandish, Brühl rises to the occasion with humor. It also confronts the difficulties faced by a populace that had previously depended on the state but now must navigate a more competitive environment, particularly when their savings disappear during the currency unification with the Deutsch Mark! By presenting these ridiculous circumstances, the film comically exposes the irrationality of rigid political ideologies and, to some degree, family dynamics as well. Bernd Lichtenburg’s writing provides nearly everyone with genuinely believable dialogue that elicits both laughter and reflection. Ultimately, though, it hinges on Brühl's performance, which he delivers admirably. The movie is a worthwhile use of a couple of hours.

Source on TMDB