What We Wanted

Netflix’s "What We Wanted" (2020): A Snapshot of Behind-the-Scenes Drama and Austrian Drama

Ulrike Kofler’s What We Wanted (2020) arrived on Netflix as a quiet yet emotionally charged drama, but the film’s journey from script to screen offers a few intriguing glimpses into its production—even if the behind-the-scenes details remain sparse. Starring Lavinia Wilson and Elyas M’Barek, the movie explores the fractures in a couple’s relationship against the backdrop of a picturesque yet isolating vacation. While the evidence doesn’t overflow with tabloid-worthy scandals, there are still nuggets worth digging into.

A Director’s Debut and the Weight of Expectations

Ulrike Kofler, the film’s director, stepped into the spotlight with What We Wanted, marking her feature-length directorial debut. The Austrian filmmaker’s background in short films and television likely informed the movie’s intimate, character-driven approach . The film’s 93-minute runtime suggests a tight, focused narrative, but Kofler’s ability to extract raw performances from her cast—particularly Wilson and M’Barek—hints at a director with a keen eye for emotional authenticity.

The movie’s reception, however, was mixed. On SensCritique, it holds a modest 5.6/10 rating based on 89 votes, a score that reflects its divisive impact . While some viewers praised its understated realism, others found it slow or lacking in dramatic payoff. For a debut, though, the film’s mere existence is a testament to Kofler’s persistence in an industry that often sidelines new voices—especially those telling stories about relationships with such unflinching honesty.

The Cast: A Blend of Familiar Faces and Rising Talent

Lavinia Wilson and Elyas M’Barek anchor the film as the couple at the heart of What We Wanted, but the supporting cast adds depth to the story. Wilson, known for her work in German and Austrian cinema, brings a quiet intensity to her role, while M’Barek—one of Germany’s most recognizable actors—delivers a performance that balances charm with vulnerability.

The rest of the ensemble includes Anna Unterberger, Lukas Spisser, and Iva Höpperger, among others, many of whom are staples in European arthouse and television projects. Their presence suggests a production that valued collaboration over star power, a choice that likely kept the budget lean but allowed for more creative freedom. Rumors about on-set dynamics are nonexistent in the available evidence, but the chemistry (or lack thereof) between Wilson and M’Barek is palpable on screen, raising questions about how much of their real-life rapport—or tension—made it into the final cut.

Netflix’s Role: A Platform for Subtle Stories

What We Wanted found its home on Netflix, a platform increasingly willing to take risks on international dramas that might struggle in traditional theatrical releases. The streaming giant’s involvement is evident in the film’s polished production values and the two official trailers released to promote it . The first trailer, clocking in at just over a minute, teases the film’s central conflict with moody visuals and a haunting score, while the second leans into the emotional stakes, hinting at the couple’s unraveling relationship.

Netflix’s marketing strategy for the film appears to have been low-key, relying on the platform’s algorithm to surface it to viewers interested in European cinema or relationship dramas. This approach aligns with the movie’s tone—subdued, introspective, and far from the bombast of typical streaming fare. Whether this strategy paid off remains unclear, as Netflix rarely releases viewership data for its international titles. Still, the film’s inclusion in the platform’s library speaks to a growing appetite for stories that prioritize character over spectacle.

The Unanswered Questions

For all its merits, What We Wanted leaves several behind-the-scenes questions unanswered. Was the shoot as emotionally taxing as the subject matter suggests? Did Kofler face pushback from producers over the film’s ambiguous ending? And how did the cast prepare for such intimate, often uncomfortable scenes? The evidence doesn’t provide answers, but the film’s raw portrayal of a marriage in crisis suggests a production that valued authenticity over comfort.

There’s also the matter of the film’s original title, Was wir wollten, which translates to "What We Wanted." The English title simplifies the original’s nuance, but it’s unclear whether this was a creative choice or a marketing decision. Either way, the shift underscores the challenges of adapting international films for global audiences.

Final Thoughts: A Quiet Achievement

What We Wanted may not have set the world on fire, but it’s a film that lingers—much like the unresolved tensions between its characters. Kofler’s direction, the cast’s performances, and Netflix’s willingness to platform such a story all contribute to its quiet achievement. The behind-the-scenes details are thin, but the film itself speaks volumes about the complexities of love, loss, and the stories we tell ourselves to make sense of both.

For now, What We Wanted remains a modest yet memorable entry in the canon of European relationship dramas. Whether it’s a sign of bigger things to come for Kofler or simply a one-off success, it’s a film that deserves a closer look—if only for its unflinching portrayal of the gaps between what we want and what we get.