The Lives of Others
Florian Henckel von Donnersmarck · 2006
The film begins as Dreyman's story. By the midpoint, Wiesler has become its real subject, and his moral change is more dramatic than anything in the playwright's life. Von Donnersmarck does this by giving Wiesler the biggest choices and the fewest words. You have to read what he's feeling from how still he is.
Where to see it: Wiesler's first deliberate omission from a report. He leaves something out on purpose, and it's the first free choice the film's real protagonist makes.