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 Love is the Beginning of All Terror: New German Cinema 66-86 
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For 2016 I'm going to go through as much of my underseen New German Cinema as possible. I've seen almost all I can from Fassbinder, Herzog and Wenders and have seen nothing by Kluge and too little by von Trotta and before I started compiling my list, hadn't ever heard of Helke Sander or Helma Sanders-Brahms but am excited that there's even more feminine perspective to be found in NGC!

I'm beginning with Kluge's Yesterday's Girl, since there seems to be somewhat of a consensus in what I've read about it being a starting point, and stopping at von Trotta's Rosa Luxembourg for several (arbitrary?) reasons and since there doesn't seem to ever be any agreed upon ends to any film movements so you gotta decide for yourself!

I invite all to join me! Include all the RWF and Herzog and whoever else you haven't yet seen! Start at Oberhausen if you want! End wherever you like! Just don't call it German New Wave like a stupid asshole!

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Mediterranee | Volker Schlondorff | 1963
Machorka-Muff | Daniele Huillet, Jean-Marie Straub | 1963
It | Ulrich Schamoni | 1965
Yesterday Girl | Alexander Kluge | 1966
Young Törless | Volker Schlondorff | 1966
Der Bräutigam, die Komödiantin und der Zuhälter | Daniele Huillet, Jean-Marie Straub | 1967
Subjektitüde | Helke Sander | 1967
Lust for Love | Edgar Reitz | 1967
Get to the Point Darling | May Spils | 1967
Tattooing | Johannes Schaaf | 1967
Degree of Murder | Volker Schlondorff | 1967
Artists Under the Big Top Perplexed | Alexander Kluge | 1968
Chronik der Anna Magdalena Bach | Daniele Huillet, Jean-Marie Straub | 1968
Michael Kohlhaas - The Rebel | Volker Schlondorff | 1969
Argila | Werner Schroeter | 1969
Eika Katappa | Werner Schroeter | 1969
Hunting Scenes from Lower Bavaria | Peter Fleischmann | 1969
Othon | Daniele Huillet, Jean-Marie Straub | 1970
It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives | Rosa von Praunheim | 1970
San Domingo | Hans-Jürgen Syberberg | 1970
No Pawing, Darling | May Spils | 1970
Der Bomberpilot | Werner Schroeter | 1970
I Love You I Kill You | Uwe Brandner | 1971
The Big Mess | Alexander Kluge | 1971
Der plötzliche Reichtum der armen Leute von Kombach | Volker Schlondorff | 1971
Dumpster Kid | Edgar Reitz | 1971
Morals of Ruth Halbfass | Volker Schlondorff | 1972
A Free Woman | Volker Schlondorff | 1972
History Lessons | Daniele Huillet, Jean-Marie Straub | 1972
The Death of Maria Malibran | Werner Schroeter | 1972
The Wollands | Marianne Lüdcke | 1972
Dear Mother I'm Fine | Christian Ziewer | 1972
Part-Time Work of a Female Slave | Alexander Kluge | 1973
Willow Springs | Werner Schroeter | 1973
Wages and Love | Marianne Lüdcke | 1973
The Long Misery | Max Willutski | 1973
In Danger | Alexander Kluge | 1974
Das Andechser Gefühl | Herbert Achternbusch | 1974
Brutalization of Franz Blum | Reinhard Hauff | 1974
Moses und Aron | Daniele Huillet, Jean-Marie Straub | 1975
Earthquake in Chile | Helma Sanders-Brahms | 1975
Under the Pavement Lies the Strand | Helma Sanders-Brahms | 1975
Lina Braake | Bernhard Sinkel | 1975
Strong Man Ferdinand | Alexander Kluge | 1976
Shirins Wedding | Helma Sanders-Brahms | 1976
Grete Minde | Heidi Genee | 1976
Die Atlantikschwimmer | Herbert Achternbusch | 1976
A Totally Neglected Girl | Jutta Bruckner | 1976
Hitler: A Film from Germany | Hans-Jürgen Syberberg | 1977
Every Revolution Is a Throw of the Dice | Daniele Huillet, Jean-Marie Straub | 1977
Fortini/Cani | Daniele Huillet, Jean-Marie Straub | 1977
Heinrich | Helma Sanders-Brahms | 1977
Zero Hour | Edgar Reitz | 1977
Beer Chase | Herbert Achternbusch | 1977
Madame X | Ulrike Ottinger | 1977
Regno di Napoli | Werner Schroeter | 1978
The All-Round Reduced Personality | Helke Sander | 1978
On the Move | Adolf Winkelmann | 1978
Bye Bye Bavaria | Herbert Achternbusch | 1978
Knife in the Head | Reinhard Hauff | 1978
Schluchtenflitzen | Rudiger Nuchtern | 1978
Sisters | Margarethe von Trotta | 1979
From the Cloud to the Resistance | Daniele Huillet, Jean-Marie Straub | 1979
Tailor from Ulm | Edgar Reitz | 1979
Leba Rais | Christian Rischert | 1979
David | Erika Runge | 1979
1+1=3 | Heidi Genee | 1979
The Comanche | Herbert Achternbusch | 1979
Ticket of No Return | Ulrike Ottinger | 1979
Palermo oder Wolfsburg | Werner Schroeter | 1980
Germany Pale Mother | Helma Sanders-Brahms | 1980
Gibbi West Germany | Christel Buschmann | 1980
Marianne & Juliane | Margarethe von Trotta | 1981
Circle of Deceit | Volker Schlondorff | 1981
Day of the Idiots | Werner Schroeter | 1981
Der subjektive Faktor | Helke Sander | 1981
No Mercy No Future | Helma Sanders-Brahms | 1981
Taxi Zum Klo | Frank Ripploh | 1981
Freak Orlando | Ulrike Ottinger | 1981
En rachâchant | Daniele Huillet, Jean-Marie Straub | 1982
Too Early / Too Late | Daniele Huillet, Jean-Marie Straub | 1982
Liebeskonzil | Werner Schroeter | 1982
Das Gespenst | Herbert Achternbusch | 1982
Der Mann auf der Mauer | Reinhard Hauff | 1982
Power of Emotion | Alexander Kluge | 1983
Sheer Madness | Margarethe von Trotta | 1983
The Laughing Star | Werner Schroeter | 1983
Die Olympiasiegerin | Herbert Achternbusch | 1983
Love Is the Beginning of All Terror | Helke Sander | 1984
Future of Emily | Helma Sanders-Brahms | 1984
Dorian Gray im Spiegel der Boulevardpresse | Ulrike Ottinger | 1984
Death of a Salesman | Volker Schlondorff | 1985
The Rose King | Werner Schroeter | 1986
Heal Hitler! | Herbert Achternbusch | 1986
Stammheim | Reinhard Hauff | 1986
Miscellaneous News | Alexander Kluge | 1986
Rosa Luxemburg | Margarethe von Trotta | 1986


Fri Jan 01, 2016 2:07 pm
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Ooh, nice!! I should watch a bunch of these. Werner Schroeter and Margarethe von Trotta have been near the top of my list for so long... it's good to have the extra motivation!

wigwam wrote:
Michael Kohlhaas - The Rebel | Volker Schlondorff | 1969
San Domingo | Hans-Jürgen Syberberg | 1970
Earthquake in Chile | Helma Sanders-Brahms | 1975
I recently watched these three for my Heinrich von Kleist project. Really liked the Syberberg. Otherwise, I think I've only seen Hitler and Anna Magdalena Bach.

Edit: Oh, yeah, and Schlondorff's Baal. It's not listed, so you've probably seen it. If not, it's sooo worth it!

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Fri Jan 01, 2016 3:24 pm
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Yes.

One hundred times, yes.

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Fri Jan 01, 2016 6:29 pm
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OK, here's what I hope to watch for this thread. (Could be talked into more, of course):


And here's the list of New German Cinema I'd seen before this thread.

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Sat Jan 02, 2016 12:43 am
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wigwam wrote:
Just don't call it German New Wave like a stupid asshole!

Nina Hagen though.

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Sat Jan 02, 2016 12:58 am
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Yesterday Girl | Alexander Kluge | 1966 | WTF?!?!

Feels very early JLG and the lead has a bit of an Anna Karina quality, but it doesn't stick to just aping JLG, instead it barely sticks to anything for any long stretches, it's very patchwork with a million ideas and approaches bouncing all over the place.


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Young Torless | Volker Schlöndorff | 1966 | DISLIKED

Yuck boreness!


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Subjektitüde | Helke Sander | 1967 | LIKED


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Der Bräutigam, die Komödiantin und der Zuhälter | Jean-Marie Straub | 1968 | INDIFFERENT


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Mahlzeiten | Edgar Reitz | 1967 | LIKED


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Chronik der Anna Magdalena Bach | Danièle Huillet, Jean-Marie Straub | 1968 | LOVED


Sat Jan 02, 2016 12:30 pm
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I'm only a novice that's seen very little, but we're getting that Wenders retro that's going around starting this Sunday with The Goalkeeper's Anxiety at the Penalty Kick.

Also playing:

Alice in the Cities
The Wrong Move
Kings of the Road
The American Friend
The State of Things
Paris, Texas
Tokyo-Ga
Wings of Desire
Until the End of the World
Buena Vista Social Club

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Sat Jan 02, 2016 12:48 pm
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That is one long damn list! I'll be following at a distance, probably only reading, although I've had the second title on my list of films to see for several years. I rented it in 2011 and fell asleep, then had to return it without watching it again.

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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
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The Future Unreels


Sat Jan 02, 2016 1:51 pm
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

Gort! Let's sync-watch Young Torless tonight at 9p CST!

It's on Hulu or Fandor I think


Sun Jan 03, 2016 12:50 am
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meliorism wrote:
The Wrong Move
The State of Things
Until the End of the World


these are my favorites of his, gonna try to drive down for them, def UtEoW


Mon Jan 04, 2016 7:39 am
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I thought Yesterday Girl was pretty good! Like a less-lighthearted Bande à part, or maybe more like early Makavejev, it's both dark comedy and earnest message movie. "Everyone is to blame" sounds a lot like Dostoevsky, doesn't it? I like the way he plays with the conventions (the street-smart waif, the meet-cute, the last-minute miracle) then strips them away. Surprise – this is dreary real life, and the only relief is in her dreams and over-heated imagination.

Image Image


Back to my list, if that's where you want to go.

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Mon Jan 04, 2016 8:23 am
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Shieldmaiden wrote:
Bande à part
dark comedy
"Everyone is to blame" sounds a lot like Dostoevsky


yes yes yes! I was actually confused by how funny a lot of it was, wondering if that was just me being an asshole

and for your list of titles, I came across one called Madame X that you might want to consider


Mon Jan 04, 2016 9:59 am
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Ooh, added. :)

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Mon Jan 04, 2016 11:03 am
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Whoa, you're going fast! I didn't realize the updates were all in one post. That's one way to avoid making an index. :)

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Tue Jan 05, 2016 10:40 pm
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wigwam wrote:
Young Torless | Volker Schlöndorff | 1966 | DISLIKED

Yuck boreness!

Wonder if that's why I fell asleep the first time I watched (tried to watch) it.

Guess we'll see when the Flix DVD arrives next week.

Sorry couldn't do teh sync watch.

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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)


The Future Unreels


Wed Jan 06, 2016 3:29 pm
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wigwam wrote:
Just don't call it German New Wave like a stupid asshole!

This is aimed at me, right?

I watched Katharina Blum recently, does that count?

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Thu Jan 07, 2016 5:48 pm
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yes and yes! Love KBlum!

but j/k almost everyone calls this German New Wave, our argument as I recall it was over calling Berliner Schule New German Cinema, but if that was related to your thinking of this as German New Wave then you're not alone in calling it that, but because it's one of the few intentional movements I think it should be called what it called itself (also I'm not technically right calling it New German Cinema, there was a "Young German Cinema" and then a "New German Cinema" even within this movement apparently)

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Artists Under The Big Top: Perplexed | Alexander Kluge | 1968 | LOVED

This was disturbing and great!


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Michael Kohlhaas - Der Rebell | Volker Schlöndorff | 1969 | LOVED

I had a really bad experience at the movie theater earlier tonight so this was especially cathartic for me.


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Machorka-Muff | Daniele Huillet, Jean-Marie Straub | 1963 | LIKED

333˚ pans are deeply disturbing!


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Argila | Werner Schroeter | 1969 | INDIFFERENT

Schroeter's just a weirdo, isn't he?


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Eika Katappa | Werner Schroeter | 1969 | LOVED

W E I R D O !


Thu Jan 07, 2016 8:25 pm
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Image Image

Katzelmacher is great Fassbinder! It has the dead-eyed delivery of Love is Colder than Death, and the framing comedy of Pioneers of Ingolstadt, but seems more carefully thought-out than his other early films. There's perfection in the way the conversations and tableaux repeat and interact thematically. It's a fugue, with the arm-in-arm walks as refrain! Also, it has a weird, ripped-from-today's-headlines feel. From "Greece has no money" to "our women aren't safe" to this ongoing conversation:
Image Image
Note, I'm not saying the situations are directly parallel!


Back to my list, if that's where you want to go.

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Sun Jan 10, 2016 3:25 am
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wigwam wrote:
Chronik der Anna Magdalena Bach | Danièle Huillet, Jean-Marie Straub | 1968 | LOVED
Anything that puts the focus on his music (like this does) has my love.

Quote:
Michael Kohlhaas - Der Rebell | Volker Schlöndorff | 1969 | LOVED
Yeah, I had a hard time judging this as a movie, rather than an adaptation of the book. I should probably revisit it.

JediMoonShyne wrote:
I watched Katharina Blum recently, does that count?
This one's next for me!

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Sun Jan 10, 2016 3:26 am
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Shieldmaiden wrote:
It's a fugue, with the arm-in-arm walks as refrain!


:!:


Sun Jan 10, 2016 5:20 am
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You like my mixed metaphor? :P

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Sun Jan 10, 2016 6:01 am
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Törless is kind of boringness, but it's hard to translate a Bildungsroman to the screen, since it deals with inner change and growth. Depicting what Törless observes is easy enough. But showing how he is changed by it is rather difficult. It didn't put me to sleep this time, and I have to say that I like the film. Although it is trudging and slow. Schlöndorff intended the film based on a rather prescient novel to be an attempt at explaining how the Nazis could have come to power in Germany, and how they could have persisted for so long. The parallels are clear, although Robert Musil's source novel was written in 1916. He must have seen the stirrings or the basic possibilities of what happened in the 20's 30's and 40's in Germany already there in the culture.

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Gort/YTMN left the forum due to trolling on August 25, 2018.
I had fun. Thanks for reading!

"The wealthy and powerful always remind us that cream rises to the top.
What they fail to acknowledge is that pond scum also rises to the top.
And there is a lot more pond scum in the world than there is cream.
If you become rich and powerful, I hope that you will be cream rather than pond scum." --YTMN

Rematch Resurrection Catalog for Rounds 1-4 New post 180721 -- YTMN's Remake Rematch Thread.
Thread Resurrected 21 Jul 2018. Thread abandoned 1 Aug 2017. Thread COMPLETE 25 May 14 (2d time!)


The Future Unreels


Sun Jan 10, 2016 10:08 am
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The Lost Honor of Katharina Blum is an excellent thriller with an intriguing story and perfect pacing – I didn't look at the clock once. Angela Winkler is terrific, and, as a message movie, it packs a real punch. There's no humor or subtext in the style here, and, if Michael Kolhaas is an indicator, maybe that's not Schlöndorff's thing. Still, the workmanlike style fits the topic. Speaking of messages, the three I've watched so far are quite open about their intent to teach, but are so entertaining that it goes down easy. Maybe that's what this New German Cinema is all about?

Image Image


Back to my list, if that's where you want to go.

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King Kong (1933) ▪ Atomic Blonde ▪ Raw ▪ Rampage ▪ Detroit ▪ Before I Fall ▪ The Levelling ▪ A United Kingdom ▪ Taare Zameen Par ▪ Lemonade Joe ▪ The Party ▪ Girlfriends ▪ Gentlemen Prefer Blondes

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Thu Jan 14, 2016 9:24 am
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Shieldmaiden wrote:
no humor or subtext in the style
quite open about their intent to teach, but are so entertaining that it goes down easy


:heart: ( :heart: 'd the pre-edit version too!)

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Hunting Scenes from Lower Bavaria | Peter Fleischmann | 1969 | LIKED


Fri Jan 15, 2016 1:41 am
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wigwam wrote:
:heart: 'd the pre-edit version too!
:)

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Fri Jan 15, 2016 3:18 am
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wigwam wrote:
Knife in the Head | Reinhard Hauff | 1978
Dorian Gray im Spiegel der Boulevardpresse | Ulrike Ottinger | 1984
Either your list is growing or my eyesight is improving. Two more I can talk about when you get there.

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Sat Jan 16, 2016 2:47 am
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ye im adding to it :shifty:


Sat Jan 16, 2016 6:44 am
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I've added some, too! I was working from your list before, and forgot about all the Wenders and Herzog I haven't seen. Plus, I counted up what I'd watched before. Using your 1966/1986 cut offs, I've seen 47 films, not including the three so far for this thread. Of course, most of them are Fassbinder. :P
Chronik der Anna Magdalena Bach | Danièle Huillet, Jean-Marie Straub | 1968
Love Is Colder Than Death | R. W. Fassbinder | 1969
Michael Kohlhaas - The Rebel | Volker Schlöndorff | 1969
Gods of the Plague | R. W. Fassbinder | 1970
Why Does Herr R. Run Amok? | Michael Fengler, R. W. Fassbinder | 1970
The American Soldier | R. W. Fassbinder | 1970
Baal | Volker Schlöndorff | 1970
San Domingo | Hans-Jürgen Syberberg | 1970
Rio das Mortes | R. W. Fassbinder | 1971
Pioneers in Ingolstadt | R. W. Fassbinder | 1971
Whity | R. W. Fassbinder | 1971
Beware of a Holy Whore | R. W. Fassbinder | 1971
The Merchant of Four Seasons | R. W. Fassbinder | 1971
The Bitter Tears of Petra von Kant | R. W. Fassbinder | 1972
Ludwig - Requiem for a Virgin King | Hans-Jürgen Syberberg | 1972
Aguirre, the Wrath of God | Werner Herzog | 1972
Jail Bait | R. W. Fassbinder | 1973
World on a Wire | R. W. Fassbinder | 1973
Ali: Fear Eats the Soul | R. W. Fassbinder | 1974
Martha | R. W. Fassbinder | 1974
Effi Briest | R. W. Fassbinder | 1974
Karl May | Hans-Jürgen Syberberg | 1974
Fox and His Friends | R. W. Fassbinder | 1975
Mother Küsters Goes to Heaven | R. W. Fassbinder | 1975
Fear of Fear | R. W. Fassbinder | 1975
Earthquake in Chile | Helma Sanders-Brahms | 1975
Satan's Brew | R. W. Fassbinder | 1976
Chinese Roulette | R. W. Fassbinder | 1976
Heart of Glass | Werner Herzog| 1976
The Stationmaster's Wife | R. W. Fassbinder | 1977
Hitler: A Film from Germany | Hans-Jürgen Syberberg | 1977
The American Friend | Wim Wenders| 1977
Germany in Autumn | R. W. Fassbinder, Volker Schlöndorff, Alexander Kluge, et al. | 1978
Despair | R. W. Fassbinder | 1978
In a Year with 13 Moons | R. W. Fassbinder | 1978
Knife in the Head | Reinhard Hauff | 1978
The Marriage of Maria Braun | R. W. Fassbinder | 1979
The Third Generation | R. W. Fassbinder | 1979
Nosferatu the Vampyre | Werner Herzog | 1979
Berlin Alexanderplatz | R. W. Fassbinder | 1980
Lili Marleen | R. W. Fassbinder | 1981
Lola | R. W. Fassbinder | 1981
Veronika Voss | R. W. Fassbinder | 1982
Querelle | R. W. Fassbinder | 1982
The State of Things | Wim Wenders| 1982
Paris, Texas | Wim Wenders | 1984
Dorian Gray im Spiegel der Boulevardpresse | Ulrike Ottinger | 1984

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Sat Jan 16, 2016 10:15 am
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

Daaaaaaaaamn! I'm so impressed/jealous

How did you come across the non-RWF/Herzog/Wenders ones?


Sat Jan 16, 2016 10:21 am
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

wigwam wrote:
How did you come across the non-RWF/Herzog/Wenders ones?
There aren't that many! (I know your list is longer.) Knife in the Head was from Bear's Obscure thread. The Syberbergs were for an Abyss thread (but my partner bailed and they didn't get written up). And then I went through that Heinrich von Kleist phase last year after seeing Amour Fou. Not sure about the Ottinger, to be honest. Probably some female director list somewhere.

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Sat Jan 16, 2016 10:29 am
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

I think you're misinformed about this german new wave shithead

Joking, I don't know anything about it. Can of trash.


Sat Jan 16, 2016 11:47 am
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

Ein Grober Graublauer Vogel is pretty cool und Die Jungfrauenmaschine is also pretty cool und Egomania – Insel ohne Hoffnung is cool and pretty und Uliisses is the greatest film of all time

I also know these, they're pretty cool
Moritz, lieber Moritz
Engel, die ihre Flügel verbrennen
Heiße Teens aus gutem Haus
Der Biß
Die Letzte Rache
Das Brot der frühen Jahre
Anita: Tänze des Lasters
Friedliche Tage
Moral 63

there's also one called Domino that's great but it doesnt have subtitles


Sat Jan 16, 2016 6:48 pm
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

thx bros, nice insights!

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Othon | Daniele Huillet, Jean-Marie Straub | 1970 | WTF?!?!

Admirable conceit, but miserable to experience


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Méditerranée | Jean-Daniel Pollet, Volker Schlöndorff | 1963 | LIKED


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Degree of Murder | Volker Schlöndorff | 1967 | INDIFFERENT


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It Is Not the Homosexual Who Is Perverse But the Society in Which He Lives | Rosa von Praunheim | 1971 | WTF?!?!

Some of the ideas in here seem too self-hating but then I kinda get them even if it's an outmoded perspective and/or if it were more accurate and preferable that would be cool too, in that it would mean a paradigm shift for hets and whatever elses too, we'd all benefit if there were a healthier source, but I feel like a normalization option shouldn't be rejected necessarily, especially if it's like this and seems to be confused with an annihilating alienation that should never have come into existence in the first place. I dunno. Blowing my mind. Amazing movie.


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San Domingo | Hans-Jürgen Syberberg | 1970 | DISLIKED

Long and boring


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It | Ulrich Schamoni | 1966 | DISLIKED


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Get to the Point Darling | May Spils | 1968 | LIKED


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Tattooing | Johannes Schaaf | 1967 | INDIFFERENT


Sat Jan 16, 2016 9:11 pm
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

wigwam wrote:
San Domingo | Hans-Jürgen Syberberg | 1970 | DISLIKED
Aw, I liked that one! In part because it eliminated the racial ickiness (and most of the plot) of the Kleist story, but I also liked the way it sort of floated along, half melodrama, half pseudo-documentary.

I finally looked up the Oberhausen Manifesto, and was surprised to find it was more about funding than anything else. Though obviously influenced by the ideas of the French New Wave, this wasn't a movement about rules, like Dogme 95; it's just a resolve to do things differently and independently. Creative freedom is a great thing!

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Thu Jan 21, 2016 2:38 am
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I think Alice in the Cities is my favorite so far! I used the word "float" above, and that's what I loved about this one, too: the lighthearted way the camera follows the story as it becomes a story, made explicit in that breathtaking last shot. It's also the characters, of course (as I would have expected from later Wenders). Rüdiger Vogler is perfect as an extremely laid-back man who falls easily into child-like wonder and semi-fatherhood as the need arises. Plus, Yella Rottländer is beautiful and an astonishing natural actress.

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Thu Jan 21, 2016 3:09 am
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

he's GREAT! i love this concept of The Float, that one is amazing in that regard so much so that I like it less as it goes along and becomes the story

completely missed that San Domingo was Kleist, having a hard time even thinking of it as that altho ive only ever read Kollhaus


Thu Jan 21, 2016 5:02 am
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wigwam wrote:
...so much so that I like it less as it goes along and becomes the story
I think I agree. I mean, I loved the story/characters, but there's something mysteriously engaging about the first part, before all that starts.

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completely missed that San Domingo was Kleist, having a hard time even thinking of it as that altho ive only ever read Kollhaus
It's barely an adaptation, keeping only the idea that a girl who's part of the gang falls in love their target. Everything else is left out, which is good, because it's pretty distasteful, honestly.

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Thu Jan 21, 2016 5:29 am
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Shadow of Angels: Hmm, I didn't realize this was Fassbinder's play, Garbage, City, Death. I read that not too long ago and, while I didn't exactly love it at the time, I do think it worked better as bitter poetry in my head than it did here. Plus, in my head it was really ultra-Brechtian, so I was disappointed at the film's halfhearted attempts to add verisimilitude with cars and distant factories and stuff. Either way, though, there's no missing its extreme cynicism and (surely) overwrought misanthropy. Fassbinder lying on the floor playing with a dead cat is definitely a highlight, haha. Yikes!

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Sat Jan 23, 2016 3:17 am
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that's one of the first "Fassbinders" I saw and it blew me away and stays a favorite on rewatches but I'm def in the misanthropy choir being preached to

also Ingrid Caven's big sad eyes are so beautiful in this

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No Pawing, Darling! | May Spils | 1970 | LIKED

This was also funny but not as crisp and flowing as Go For It Baby


Sat Jan 23, 2016 3:23 am
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Another Fassbinder down! I Only Want You to Love Me is a lot like Fear of Fear without the fake happy ending – miserablism at its most frustrating – dull, ordinary people making terrible life choices. (Seriously, who needs a TV that badly?!) And the Freudian angle seems a little iffy. Still, it's good to see Vitus Zeplichal again, and I love the palette: all those rich golds in a film about lack of money. The Color of Irony.

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Sun Jan 24, 2016 10:56 am
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I wasn't too impressed by Sanders-Brahms' Earthquake in Chile, but maybe I need to give it another try, because Heinrich is something special. Here she makes a clever game of biography, telling Kleist's story in his own poetry and letters, while her beautiful images (Jarman meets Sokurov) add distance and irony. This Kleist is quite different from the one we saw last year in Amour Fou, and even more irritating, if you can believe it! Apparently, his life was full (and enigmatic) enough to accommodate an array of theories and films.

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Sun Jan 31, 2016 11:47 am
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Wig, come back! I need motivation to watch Kaspar Hauser.

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Sun Feb 28, 2016 2:34 am
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Shieldmaiden wrote:
Wig, come back! I need motivation to watch Kaspar Hauser.

Do it. If only for Bruno's performance. :D


Sun Feb 28, 2016 5:53 am
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OK, it's up next. I won't write it up till wigwam comes back, though. I don't want to hog the thread.

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Mon Feb 29, 2016 6:58 am
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hi SMaiden! I'm around, I'll be back-back soon-ish

Please hog the thread all you want!


Sat Mar 05, 2016 11:14 am
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wigwam wrote:
Please hog the thread all you want!
Ha. I'll do my best. :)

I added a couple more to my list, btw. I'll never get done as this rate.

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Sun Mar 13, 2016 10:25 am
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This is how good Alice in the Cities is: so good I was compelled to watch the rest of the trilogy before I could move on. And, how good is the road trilogy? Great! I didn't want it to end.

Wrong Move is a quirky, rather weightless adaptation of a novel (the original Bildungsroman) by Goethe. I'm not sure how many ideas made it through the transformation, though there are some weird, meta things going on (very Certified Copy-like) that probably make more sense to readers of the book. It's entertaining, if not as great as the other two in the series. Still, the colors are warm, Schygulla and Kinski are beautiful, and the camera-work is delightful, so it holds its own.

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Kings of the Road is back to Alice-level greatness. I was happy to see more of that floating perspective I talked about up thread – seemingly as aimless in its voyeurism as our characters are in their lives. It's such an unassuming story, so relaxed and organic that it snuck up on me. The friendship grows, the stops get (subtly) more momentous, the stakes are higher. The music is great (I see his influence on Claire Denis mostly in the music), and, again, the 'wim'-sy of the end lightens the whole effect. Wenders is still the best thing in this thread!!

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Sun Mar 13, 2016 10:26 am
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Post Re: Love is the Beginning of All Terror: New German Cinema 6

More on Kings of the Road...

I thought Lander was quoting someone when he said, "The Yanks have colonized our subconscious." Though a psychiatrist talking about the subconscious should have been a clue, haha.

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Comments on the destructive and constructive qualities of the United States, together with fundamental differences and similarities, continue to preoccupy the filmmakers of the Western German New Cinema. In Im Lauf der Zeit (Kings of the Road, 1976) Wim Wenders famously coined the line "the Yanks have colonized our subconscious." "America" here represents pop culture, as the protagonist cannot get the lyric of a pop song out of his head. We can read this line as a continuation of the traditional criticism in Germany of American society and its shallow cultural values and achievements. Nevertheless, this scene should be read also as an example of a more complicated image of the United States in the films of the generation of filmmakers who matured during the Adenauer era: after all, it was Wenders himself who called the same American popular music his "lifesaver" as an adolescent. According to Wenders, for his generation, American culture was both a refuge and liberator from the Nazi past and from the historical "amnesia" of older Germans.

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Thu Mar 31, 2016 1:08 am
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OK, I decided to see one more by Kluge before I moved on, and I'm glad I picked this one! Artists under the Big Top: Perplexed is odder and more entertaining than Yesterday Girl – a strange brew of quirky narrative and mockumentary. The tongue-in-cheek tone reminded me again and again of The Falls. Actually, scratch that. I think it's more the atmosphere of failure that evoked Greenaway; Leni Peikert's circus-of-the-mind is idealistic and silly and nostalgic at the same time. And, once I'd gotten on the right wavelength (not the easiest task), I enjoyed this quite a bit.

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Tue May 03, 2016 4:48 am
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So, Herzog! I've only seen Aguirre, Heart of Glass, and Nosferatu from the years in question, so The Enigma of Kasper Hauser seemed necessary. Going in, I knew very little about the events it's based on, but it didn't matter at all. Herzog doesn't take a side in the controversy so much as let his imagine soar within the original story. A man raised without language or interaction would indeed be "far away from everything," and Herzog and Bruno S. do an astonishing job of illustrating that chasm. It's completely engrossing! I do want to mention the title, though... the German is much more cynical and appropriate: Everyone for Himself and God Against All.

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Tue May 03, 2016 5:33 am
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