The Aftermath (2019), directed by James Kent

Hamburg 1945 - Rachel Morgan arrives to join her husband, a senior officer in the army of occupation, five months after the end of the war. Firebombing has devastated the city and the hungry local people are still searching the rubble for their dead and missing. The British army has requisitioned a grand house, with staff, for the Morgans, owned by architect Stefan Luber. Morgan has compassion and empathy for the German people that he seemingly cannot extend to his stricken wife. He allows Luber and his daughter Freda to remain in their house, confined to the attic, rather than evicting them to a labour camp. Rachel had hoped to reconnect with her husband in a more private setting, not surrounded by resentful Germans. What follows is a complex story of grief, loss and new beginnings, set in the snowy Bavarian landscape. Keira Knightly and Alexander Skarsgard make credible lovers, while Australian Jason Clarke is very good as the repressed British army officer. This is a thoughtful and interesting film that is marred by several groanworthily convenient plot improbabilities and logistical glitches towards the end.