Imagine a hidden floor in an Alpine hotel where the horrors of Nazi Germany come to life—not as a history lesson, but as a time-travel adventure for kids. This is the bold premise of The Secret Floor (Das geheime Stockwerk), a film that dares to teach children about one of history’s darkest chapters without overwhelming them. But here’s where it gets controversial: Can a movie about such a grave topic truly strike the right balance between education and entertainment? And this is the part most people miss—it’s not just a history lesson; it’s a mystery, a friendship tale, and a cultural time capsule all rolled into one.
This German-Austrian-Luxembourgish co-production, brought to life by Kevin Lee Film Germany, Amour Fou Vienna, Amour Fou Luxembourg, and director/producer Norbert Lechner (The Wall Between Us), is based on a script by Katrin Milhahn and Antonia Rothe-Liermann. Starring Silas John, Annika Benzin, Maximilian Reinwald, Marie Jung, Maximilian Simonischek, and Tobias Resch, the film follows 12-year-old Karli, who discovers a magical elevator in his new Alpine home. This elevator isn’t just any lift—it’s a portal to 1938, where Karli befriends Hannah, a spirited Jewish girl, and Georg, a shoeshine boy. But when Georg is wrongly accused of theft, the trio must unravel a mystery hidden within the hotel’s walls, all while the shadow of Nazi Germany looms larger. The Playmaker is handling sales, and the film has already garnered accolades, including the children’s jury award at the Zlín Film Festival, honors at Germany’s Goldener Spatz, and the Tommy Hilfiger Special Award at the Giffoni Film Festival.
But why use time travel to teach kids about such a heavy subject? Lechner explains that the dual timeline—Nazi Germany on the secret floor and the present—prevents audiences from distancing themselves from the past. ‘If it were just set in the Nazi era, you could think, ‘This was far away in time, far from me,’’ he says. ‘But by traveling back with Karli, it feels more real.’ This approach is both innovative and risky, inviting viewers to confront history head-on while keeping them engaged through adventure and humor.
The film’s genesis is equally compelling. Rothe-Liermann, who grew up in the GDR, was traumatized as a child by a film about Auschwitz. As an adult, she wondered: How can we educate children about this era without scarring them? Lechner recalls, ‘When she pitched this idea, I loved it instantly.’ Their research included studying classics like Back to the Future and consulting historians to ensure historical accuracy. They even added a criminal investigation subplot to blend adventure with education.
But not everyone is comfortable with this approach. When The Secret Floor premiered at the Goldener Spatz festival in Gera, Germany, Neo-Nazis staged a protest outside the venue, glaring at the team through restaurant windows. ‘It was a stark reminder that these ghosts still linger,’ Lechner says. This incident underscores the film’s relevance and the ongoing struggle to confront history’s darkest chapters.
The film also tackles cultural differences with humor. Karli’s interactions with 1938 children—their outfits, their lack of smartphones—create a delightful culture clash. ‘We tried to make the dialogue feel authentic to the era,’ Lechner notes, pointing out words like ‘famos’ (splendid) that were common then. Working with child actors, many first-timers, required extensive preparation, including improvisation and historical training. For instance, Annika had to learn how to curtsy, while actors playing Nazi boys had to embody the rigid military mindset of the time.
Lechner hopes The Secret Floor sparks conversations between families and encourages further learning. ‘My wish is for parents and teachers to watch this with their children and discuss it afterward,’ he says. ‘In Germany, kids don’t learn about the Third Reich until they’re 14 or 15—far too late.’ The film intentionally leaves some historical details open-ended, inviting questions and dialogue.
But is this enough? Some argue that simplifying such a complex and traumatic period risks oversimplification. Others worry that blending entertainment with education might trivialize the subject. What do you think? Can a film like this effectively educate without traumatizing? Or does it risk watering down history for the sake of entertainment?
The Secret Floor screens next at the AFM on November 12 and the Philadelphia Jewish Film+ Media Festival on November 14. Lechner is already working on another 1938-set project, an adult film about the Évian Conference, where nations debated the fate of Jewish refugees. Based on Hans Habe’s book The Mission, it promises to continue his mission of confronting history through storytelling.
So, what’s your take? Is The Secret Floor a groundbreaking way to teach history, or does it tread too lightly on a grave topic? Let’s discuss in the comments!
