The best stories are often true, and true stories deserve to be shared. None more so than that of Auschwitz survivor Freddie Knoller whose story is immortalised on screen in the shape of Annabel Jankel’s Desperate Journey. 
 
In Vienna, Freddie (played wonderfully by Lucas Lynggaard Tønnesen) a young Austrian Jew, lives in an almost blissful ignorance of the looming threat of the Nazis, but when his life is overturned by the 1938 Anschluss he is forced to flee alone, beginning a dangerous journey across Europe in an attempt to find safety in the UK. It is in many ways, a story shared by countless others from the time – families and individuals undertaking desperate journeys to escape the horrific realities of 30s and 40s Europe – the rise of fascism, violence and persecution. 
 
As such, the film is given a unique flavour by being told in flashback form, alternating between the liberation of Auschwitz and the nightmare of the death march Freddie has to undertake, and his earlier journey as a stateless fugitive surviving in the seedy glamour of Occupied Paris. It is in Paris that the perhaps most unique aspect of his story takes place, working under a false identity in the German-frequented cabaret clubs. 

It’s a unique take on survival during the Nazi era, supported by strong performances from the cast – particularly Lucas Lynggaard Tønnesen – and a gorgeous production value. Sure, some aspects of the plot don’t land; the romance for example is a weaker aspect purely because it seems underdeveloped and lacking conviction.

In many ways, this is the film’s biggest flaw, a slightly predictable (at times cliche) script prevents the overall story from truly taking off.

Does this ruin it? Not really, not every film needs to be groundbreaking – the true story nature of the plot covers this, along with the aforementioned strong performances and beautiful setting.

Desperate Journey offers an insight to a remarkable story, posing alternative talking points to the more traditional war time tales. It’s a reliable, thought-provoking piece that doesn’t try to reinvent the filmmaking wheel, and it is a story that deserves to be told.