Leibniz – Chronicle of a Lost Painting is the 7th & final screener I received and have officially watched that premiered at the 2025 Berlin International Film Festival. Written & directed by Edgar Reitz & Anatol Schuster, the film stars Edgar Selge, Aenne Schwarz, Lars Eidinger, Michael Kranz, Antonia Bill, and Barbara Sukowa. Queen Charlotte commissions a portrait of her love, Leibniz. During the portrait sessions, the philosopher and a young painter engage in conversation that brings them closer together.

Like every entry I screened before, I went into this not knowing much. That’s the way I prefer it. It makes for a unique experience. This particular genre and time period is one that probably interests me the least. I enjoy it, but I haven’t been particularly fond or energized by the genre. Where the film succeeds is when it functions like a play. Set in a singular location for most of the film, that’s where the film has the opportunity to showcase many of its amazing components.

When the film focuses in on Edgar Selge & Aenne Schwarz’s dynamic is where I found myself most interested. I personally would have preferred the film just be the two of them, but I get why it’s not. At 105 minutes, the film could have done more to enhance the characterization on the smaller characters. Anything I may have against the film comes down to personal preference. The film succeeds on a technical level. The co-direction seems to help bring the location and the characters to life. The production design is immaculate, while the cinematography uses some new camera shots, like one particular POV shot, that floored me and made me want more.

The film is at its best within the dialogue and the timing. I love films like this and this is something I would have liked to have seen more of. I don’t know if it was just me, but I found the subtitles quite small and hard to read at times, which is something I don’t ever complain about. Maybe I am just getting older. Who knows. I think for a film that focuses so much on dialogue and may interest an older crown, it may help if the subtitles were bigger. The dialogue, too, was confusing at times, and I couldn’t quite tell if that was me not understanding how the people talked or not. I will give credit where credit’s due and appreciate the film for being in its authentic language versus using English and having actors mimic an accent. This is very authentic in its approach.

Overall, Leibniz – Chronicle of a Lost Painting is a technical achievement, even if it may not be for me. It’s components work in tandem to create something authentic from its performances and script to the direction and cinematography. It’s hard to say if this would ever play in the states. Much like the other entries I have seen out of the Berlin International Film Festival, this is one I hope more people get to see.

VERDICT: 3.5/5 (Pretty Good)