The last film in Roberto Rossellini’s War Trilogy is a lot like the first, Rome, Open City. Germany Year Zero also uses a few days in the lives of some citizens to tell the story of a city’s relationship to the war. It, too, becomes a study of how the vicissitudes of life in wartime can provide momentary respite from suffering that just makes the rest of the characters’ lives seem even worse in comparison. But this time there’s a pretty drastic change from Rome, Open City and Paisan. German Year Zero is set in post-war Berlin. It’s Rossellini’s change of subject from his people to those who oppressed them that makes this a remarkable movie. He doesn’t hate the Germans, at least not most of them. Indeed, the young protagonist, Edmund (Edmund Moeschke) is given the same treatment as Don Pietro Pelligrini was in R,OC, an understanding, empathetic portrayal. It’s only the Nazi-affiliated characters that Rossellini clearly disapproves of, disappointingly recreating the gay depiction seen in the first film of the trilogy and adding in pedophilia for good measure.