This scene is particularly interesting in the terms of refugees and performance throughout the film.  To start this scene, Georg is playing the role of Weidel, the poet that died at the beginning of the movie.  Throughout the clip we see why it is important for him to play this role if he has any hopes of leaving this port town.  When he mentions the name Weidel he is immediately brought back to see a different man and given transit passes. This shows how corrupt the refugee process was and how one had to have money and know people if they ever wanted to get out.  If he had not known this person he would have been simply categorized and given to the next person to wait in line for like the other characters we see in the waiting rooms throughout the movie.  Another interesting part of this clip is the number that the worker is insisting on.  It is written on a small ripped up piece of paper and he requires to see it before saying anything.  When he does see the number he does nothing with it but throw it in a desk making it seem not important just another way to try and delay the process if people loose their number.

The camera angles in the clip switch pretty rapidly between shots of Georg’s face and the workers face allowing the audience to see everyone’s reactions but also create a tension on if his playing of Weidel is going to do anything for him or if he will be caught impersonating someone else.  This adds to the suspension of this scene both of the performance aspect but also what will come to the refugees and what processes do they have to go through.