It introduces an artificial tension.
Filmkritik von, trailer ansehen (1) zur Galerie (13 Bilder) alle neuen Trailer, neue Kritiken.Fassbinders Gruppenporträt gleicht einem sozialen Experiment, das die Möglichkeiten und Unmöglichkeiten künstlerischer Synergie an seinem eigenen Mitarbeiterstab, den Mitgliedern des antiteaters, gewissermaßen wie eine Vivisektion durchspielt.The art direction was by Kurt Raab and the cinematography by Michael Ballhaus (for the past twenty years he has shot almost all of Scorsese's pictures whom Fassbinder once called two of his "essential collaborators" (here are their full credits with him).His work existed simultaneously as an intensely personal catharsis and as a comprehensive vision, albeit dark and unsettling, of human experience.Produktionsjahr 1970/ 71, regie, rainer Werner Fassbinder, buch.The tangled nature of our response is exactly what Fassbinder wants both here and in his other films in his desire for us to confront the complexity both of the situation onscreen and of our own emotions.And it is a probing, multi-layered view of human experience of frustration, brutality, and especially love seen through the unlikely but fascinating metaphor of a stranded movie crew.
Fassbinder focuses on these gay/bisexual characters, but the scope of his vision is universal.
He draws the humor from many other sources.
For some of the characters Sascha, Babs, Manfred, maybe even Irm we can hope that that is the case.With all of these warnings, not to mention the film's non-stop emotional chaos, is there any chance of hope in Fassbinder's vision?In the frame to the right, note the film noir-like lighting and shadows, which connect with his trilogy.By contrast, Fassbinder's next film, The Merchant of Four Seasons which marked his international breakthrough with both critics and audiences moves towards his later style.On an autobiographical level, although Fassbinder knew the dangers of fetishizing beauty (a theme he explores frauen treffen vechta in several of his films yet to play his alter ego he cast the strikingly handsome actor Lou Castel (who made a stunning screen debut in Marco Bellocchio's 1965.Fassbinder's film is based on his traumatic recent experiences on location in Spain making the bizarre, but fascinating, Whity, which I call his 'sauerkraut' (as opposed to 'spaghetti Western.
On yet another level, this is reveals Fassbinder's brilliant strategy which he used throughout his body of work, with various inflections of juxtaposing artificial images (such as the several tableaux which punctuate this film, most notably in the final scene) with very real emotions (such.
With the exception of his wicked farce.