I guess I'll be the first one to chime in on this. I'd wait, but I'll probably lose all the details I currently have in my head.
Anywho, this one's a doozy. A fragmented amalgamation of Fassbinder, De Palma, Argento and Resnais. Or at least those names kept springing to mind when I was watching it. Though the film only briefly delves explicitly into Germany's sordid history, make no mistake; the reunification of Germany is easily read into the bipolar behavior of the protagonist. Her specific mental illness (assuming there is a literal one and not just a metaphorical one) is never conveyed, so it's left largely up to the viewer to qualify the aforementioned duality. The film begins abruptly with the tossing of a child off the roof of a large building, setting up a kind of campy tone, which slowly gives way to a more tense, stifling atmosphere and editing pattern. The beginning sets up the subsequent pattern of manic editing given way by the prescient reminiscence of the premise. If there's a base platform from which the tangential and slightly surreal recollections are tethered, I'm unaware of it. The entire film seems to exist in a state of ad hoc memorial flux. To piece it all together into a perfectly solid framework feels not only impossible, but beside the point. Huppert, whose character doesn't even have a real name in the film (she's referred to as "Die Frau" in the credits), seems to be attempting to thrust herself into a role that fits, juggling lovers and constantly reassuring herself that she actually exists by looking into a makeup mirror and applying lipstick. There are no easy answers, so any attempt by me to try and really suss out the intricacies is going to fail spectacularly. Maybe someone else will have better gauged the material and can talk turkey, but I will say that it's a good film, even if I'd have trouble telling you how or what ideas it generates or speaks to outside of what I spoke of regarding gender roles and the reunification of Germany.