Fassbinder, R.W. Written by Joaquim’s squalid home makes clear that he never could have supported Vitalina in Portugal, and she wonders aloud why he chose to live in such conditions instead of returning home.
Go out and get myself a little job on the side…then I’m cheating. Writer and curator Jasper Sharp narrates an excellent video essay about how the catastrophe impacted “Japan’s nuclear imagination,” by which he means the way it’s been depicted in films, either directly or tangentially. First the two kids rob Fox of the last of his money (the 8,000 marks he got from selling his sports car) as he lays dead; then, one of his old working-class friends walks past him with Max (Karlheinz Bohm), the rich man who had seduced him at the start of the film, but eventually both walk away to avoid getting into trouble. Remastered from a 4K film transfer for its first release on Blu-ray, Roman Holiday has never looked better. But it’s the film’s refusal to pull any punches and highlight the flaws of its main characters that prevents its somewhat optimistic portrait of black love from tipping into the maudlin. The one-apartment setting for this film creates a very appropriate sense of claustrophobia and confinement. What Fassbinder relentlessly attempts to represent is the masochistic experience as something akin to the fundamental fantasy, which ‘provides the subject with the minimum of being, it serves as a support for his existence — in short, its deceptive gesture is ‘Look, I suffer, therefore I am, I exist, I participate in the positive order of being’ (Zizek 2000a: 281).
Offering the last rites to Joaqium, the priest then performs mass for Vitalina and is momentarily rejuvenated by his faith. Subjectivity and Otherness: A Philosophical Reading of Lacan. The audio commentary, recorded in 2003, features filmmaker George Tillman Jr. and a number of the film’s actors, along with Dan Pine, son of the film’s screenwriters, serving as something of a de facto MC. The monaural soundtrack is similarly sturdy, and the score by Miklós Rózsa and Frank Skinner has never sounded lusher.
Enter Karin, a 23-year-old beauty who wants to be a model. Responding to her new lover, Rupert (James Earl Jones), who’s annoyed that she won’t spend the night with him, Claudine (Diahann Carroll) sarcastically jokes that she might as well be married to “the welfare man,” since that’s who dictates nearly every decision she makes in her life.
Joaquim looms over it like a spirit with unfinished business, to the point that Vitalina’s extended, accusatory monologues about their relationship sound like direct addresses to his loitering soul just waiting off-camera. But let us go back to sexual difference. The Ticklish Subject.
Green Street Books-Employment for Adults with Special Needs, The Bitter Tears of Petra von Kant [Blu-ray], The Bitter Tears of Petra von Kant (English Subtitled). Given the importance of these restorations, it’s difficult not to be at least a little disappointed with the slim supplements. And while Rupert, a garbageman, is patient and sweet with Claudine and her much less-enthused kids, he’s left a trail of ex-wives and estranged children in his wake that speaks to his own troubled past. We laughed a lot during filming, because we had heard all the lines in this film before.
Colors are rich and intoxicating, particularly the reds, blues, and various cream colors that dominate Petra’s makeup base. Meanwhile, all signs of damage have been removed, and the healthy, even grain distribution ensures that the original filmlike textures are kept intact. As for Fassbinder, a work like Fox and His Friends (Faustrecht der Freiheit, 1975) shows the extent to which gender, for him, is a psychological condition inextricably related to class. Irm Hermann, The Bitter Tears of Petra von Kant, R.W. In ideological terms, therefore, Fassbinder would seem to distance himself from the Lacanian axiom of sexual difference.
This unforgettable, unforgiving dissection of the imbalanced relationship between a haughty fashion designer (Margit Carstensen) and a beautiful but icy ingenue (Hanna Schygulla)—based, in a sly gender reversal, on the writer-director’s own desperate obsession with a young actor—is a fully Fassbinder affair, featuring exquisitely claustrophobic cinematography by Michael Ballhaus (The Last Temptation of Christ) and full-throttle performances by an all-female cast. Fassbinder tells his story in a series of 5 or 6 long scenes with extended uses of a single camera shot and deep focus. In the early 1970s, Rainer Werner Fassbinder (Berlin Alexanderplatz) discovered the American melodramas of Douglas Sirk and was inspired by them to begin working in a new, more intensely emotional register.
And relationships between people are always sadomasochistic as a direct result of their upbringing’ (in Rayns 1979: 93). Similarly, the whole of Rio Das Mortes (1970) is built around the longing for an alternative life in Peru.
In 1938, a German singer falls in love with a Jewish composer in Zurich, who helps Jews flee Nazi Germany. Keep track of everything you watch; tell your friends. Rainer Werner Fassbinder | Photo: Peter Jansen, 1978.
Ulrich Faulhaber & Margit Carstensen, Fear of Fear, Rainer Werner Fassbinder, 1975. Like Dijbril Diop Mambéty’s subsequent Touki Bouki, Soleil Ô is a tour de force of intellectual and cinematic daring. But the WCP’s diligent work—1,500 hours according to their own estimates—ensures those moments are few and far between. If Fassbinder has often preferred to work with female characters, then, it is because of the rich complexity he saw in feminine sexuality (see Rayns 1979: 89), and because of his personal affinity with it in terms of sensitivity. Typical of Fassbinder’s work, the contrast between the characters’ displays of unqualified tenderness and their exertions of manipulative, resentful power is embodied by the push and pull between the stark, self-conscious symbolism and the comparatively more intuitively performed melodrama.
The film, per Polan, celebrates working-class life as part of an ongoing, beneficial social project, which would become a trait of police procedurals and distinguish them from the fear and social chaos the typically govern the film noir. Networks of neighbors and friends have played a key role in all of his films since he began to document the residents of Lisbon’s now-razed Fontainhas shantytown, but arguably the presence of community has never before been felt so strongly in Costa’s work. Of all the relics of noise-rock's 90s golden age, Bay Area band Star Pimp might be the most unjustly forgotten. An arrogant fashion designer falls in love with an icy beauty who wants to be a model. Another moment late in the film has a similar intensity, when Halloran finds one of the perpetrators, a stout ex-wrestler, Willy Garzah (Ted de Corsia), hiding out in an apartment so small it casually suggests a cage.
Metaphorically speaking, masochism for him implies the suspension of the character’s immersion in the symbolic order, achieved through the insistence of drive. Sourced from a new 4K digital restoration, the Criterion Collection’s transfer of Claudine is spectacular, boasting a consistently sharp image while still honoring the film’s gritty, rough-edged aesthetic. For Fox and Eugen the sexual relationship is indeed impracticable, since one gives everything (Fox), while the other simply takes (Eugen). For all the ink spilt extolling the innovations of Rouben Mamoulian’s Love Me Tonight—the remarkably quicksilver visuals, the classy theatrical leaps of faith, the devil-may-care optimism—the film’s most astonishing feat is the vulnerable and charming performances that the director finesses from Maurice Chevalier and Jeannette MacDonald.
While the transfer certainly leaves a lot to be desired, it’s thrilling to have Hideo Sekigawa’s little-seen drama finally available on Blu-ray for the first time.
The Bitter Tears of Petra von Kant is a very important film because the viewer is bound to realize very quickly that it’s a camouflage. The artifice (note the outlandish outfits!!!) Diving headfirst into ABKCO’s gorgeously assembled box set is bound to be a mind-altering experience for Jodorowsky fans and novices alike. Irm Hermann, The Bitter Tears of Petra von Kant, Fassbinder. Empirismo eretico. The crucial theme of the film, however, has to do with Fox’s more or less unconscious death-drive. The film’s oblique nature elides any simple interpretations, and the irresoluteness of the social commentary mingles with Vitalina’s personal ruminations over her life.
One of the earliest and best-loved films of this period in his career is The Bitter Tears of Petra von Kant, which balances a realistic depiction of tormented romance with staging that remains true to the director’s roots in experimental theater. Directed by Rainer Werner Fassbinder • 1972 • West Germany Starring Margit Carstensen, Hanna Schygulla, Katrin Schaake In the early 1970s, Rainer Werner Fassbinder discovered the American melodramas of Douglas Sirk and was inspired by them to begin working in a new, more intensely emotional register. Two monks (Víctor Urruchúa and Carlos Villatoro) offer their recollections of murder and betrayal to an objective listener, and as their shared past is recounted twice, once from the point of view of each man, the comparisons to Akira Kurosawa’s Rashoman are inevitable; the dialogue exchanges between the monks help to articulate how pride and personal vendettas make constructing truthful histories next to impossible.
Fassbinder tells his story in a series of 5 or 6 long scenes with extended uses of a single camera shot and deep focus. The daughter arrives and initiates a guessing game of "Chinese roulette".
The rest of the film deals with the emotions of this affair and its aftermath.
Some time ago, she divorced the husband she no longer loved.
We use cookies to ensure that we give you the best experience on our website. This is explicitly stated, for example, in the scenes where Eugen’s parents are shown as being more worried about their social status and financial condition than their son’s ‘deviant’ sexual inclinations.
Mamoulian, who had been a fantastically successful theater director in New York, was wooed by Hollywood to make his first film, Applause, in 1929.
The film’s colors and expressive lighting pop from the stable black backdrops, while skin textures and tones are sharply defined.
The striking point about this film, and a sign of Fassbinder’s genius, is that it dares not to represent gays as a victimised minority; on the contrary, the ‘gay universe’ is explicitly linked to the oppressing class, to the extent that it is even associated with Nazi ideology. An illustration of a magnifying glass. The high-definition transfer on this Arrow Academy Blu-ray is an unusual beast.
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