Filming the Phantasms of Fukushima: Relationality and Repair in Doris Dörrie’s Fukushima, Mon Amour

German filmmaker Doris Dörrie’s 2016 film Grüße aus Fukushima (literally Greetings from Fukushima; English title: Fukushima Mon Amour) was the first feature film shot in the exclusion zone around Fukushima, Japan, in the aftermath of the 3.11 triple disaster. This chapter examines the range of audiovisual forms Dörrie finds to address the challenge of representing both the invisibility of radiation and the incomprehensible time scales of nuclear fallout. Attending specifically to the figure of haunting in Fukushima, Mon Amour, the analysis considers how the spectral images—including ghostly characters as well as revenant cultural tropes—that punctuate the film engage the phantasms of nuclear pasts to counter fantasies of utopian atomic futures.