Fassbinder (film)
| Movie | |
|---|---|
| Original title | Cooper |
| Country of production | Germany |
| original language | German |
| Publishing year | 2015 |
| length | 92 minutes |
| Age rating | FSK without |
| Rod | |
| Director | Annekatrin Hendel |
| script | Annekatrin Hendel (concept) |
| production | Annekatrin Hendel, Juliane Lorenz, Simone Reuter (SWR), Petra Felber (BR), Andrea Hanke (WDR), Rolf Bergmann (rbb) |
| music | Flake |
| camera | Martin Farkas |
| cut | Jörg Hauschild |
| occupation | |
Fassbinder is a cinema documentary by Annekatrin Hendel based on an idea by Juliane Lorenz from 2015. Made on the occasion of the director's 70th birthday, it shows, chronologically, the life and work of the filmmaker Rainer Werner Fassbinder .
It bears the motto, which is a quote from Fassbinder himself: "I am my films."
The film opened in German cinemas on April 30, 2015, including at the Volksbühne in Berlin .
style
The stylistic feature of this documentation is a collage of film documents of clips from Fassbinder films , interviews, overlaid photos and other material, as well as eyewitness reports from the so-called Fassbinder clan actor Harry Baer , and the actresses Hanna Schygulla , Margit Carstensen and Irm Hermann . The film also shows excerpts from employees who do not belong to the “clan”, such as actor and director Hark Bohm , film producer Günter Rohrbach , screenwriter Fritz Müller-Scherz and director Volker Schlöndorff . Fassbinder's film editor and partner Juliane Lorenz also has a say from the last phase of his life.
Annekatrin Hendel created a scene in which, in an extremely bright, well-lit room, all Fassbinder productions run simultaneously on screens in a closed room as a cacophonic experience. Some of the conversations between the director's companions mentioned above take place in this scene. This scene in turn goes back to the conditions in Fassbinder's private apartment, in which he made it a habit to run several televisions and thus several films at the same time.
Hendels' film has two peculiarities compared to older documentaries: On the one hand, private matters by Fassbinder come to light, such as the complicated relationship between Günther Kaufmann and the director, which was dealt with in the film The bitter tears of Petra von Kant . On the other hand, a previously unpublished play from Fassbinder's youth is reported under the title table tennis . Poems and a book publication dedicated to Fassbinder's mother are also the content of the film, which was published posthumously under the title In the Land of the Apple Tree .
Hendels documentation has been sorted and structured according to film titles, i.e. chronologically. In other words, it begins with Love is colder than death , Fassbinder's first feature film, and ends with Querelle , Fassbinder's last completed feature-length film.
The documentary ends thematically with Fassbinder's death in 1982.
criticism
The film magazine epd film poses the rhetorical question of whether Fassbinder's films, all of which were released on DVD, are still being seen today. The present film "offers in a way an autobiography of Fassbinder". The statements of the interlocutors who had their say were "of different lengths and differently productive [...] one could have expected more substantial things, for example what the WDR donated or the later arguments in the television series ' Eight hours are not a day ' ." is “to a certain extent the 'official' tribute that will be broadcast on television four or six weeks after its cinema release. However, it would be a shame if Christian Braad Thomsen's film 'Fassbinder - Loving Without Demanding' , which was premiered at the Berlinale, were to be pushed out of broad perception. "
Frank Arnold from Spiegel Online Kultur is of the opinion that the date of his 70th birthday is a "legitimate reason" to celebrate Fassbinder. The “more important question”, however, is “what remains of his work, 33 years after his untimely death at the age of only 37.” It is critically noted that the film is sometimes content with “calling up anecdotes that the interlocutors have already seen elsewhere "It was particularly annoying" in the case of Günter Rohrbach, the head of the WDR TV game at the time, [...] from whom one would rather have heard today "about the premature cancellation of the television series ' Eight hours are not a day ' (at that the last two episodes were no longer allowed to be filmed) or about the backtracking that the WDR made in the planned filming of Gustav Freytag's “Soll und haben” (based on the anti-Semitism of the original) “think. Arnold also (as in other reviews) talks about Juliane Lorenz, the "President of the Rainer Werner Fassbinder Foundation and administrator of his inheritance and in both functions quite controversial," which Fassbinder initiated, which makes the film seem somewhat addicted to harmony. “The second major shortcoming of the film [is] its equation of film and life.” Arnold concludes: “This somewhat breathless chronological run-through through Fassbinder's life, despite a number of new details, is an overall disappointment, especially if you have seen the much more personal documentary by the Danish Fassbinder connoisseur and friend Christian Braad Thomsen, which premiered three months ago at the Berlinale. "
Cristina Nord from the taz comes to the conclusion: “It doesn't get any coarser: Annekatrin Hendel tries a portrait of Rainer Werner Fassbinder. She unites work and life without a hitch. ”One learns a lot about“ Fassbinder's love affairs and their failure, about tax debts, stimulants and tranquilizers, [but] almost nothing about aesthetics, program, ideas, political positions and the intense debate with of German history ”.
Dietmar Holzapfel from the Abendzeitung conceded that the film managed to “present Fassbinder's career in important stations. Since RWF lived his life at least twice as fast, and was extremely productive, it was almost impossible to do justice to this complex life in just 90 minutes ”. [...] "'Fassbinder' lives from the strong quotes of contemporary witnesses." [...] "Highlights of the film about Fassbinder [are] his own quotes." Holzapfel criticizes the "subjective representation", based on "the problems of Fassbinder Foundation and its rights holder Juliane Lorenz. ”For example, the“ Oscar-winning cameraman Michael Ballhaus , who is part of Fassbinder's fame, is hushed up, just to mention one name ”.
In Zeit Online , Katja Nicodemus deals in detail with the phenomenon Rainer Werner Fassbinder. She writes about Hendels film: “In it she [Hendel] consistently tells Fassbinder's life through his films, reflecting it, commenting on it, as a circulation of power and desire, manipulation and the need for love. Hendel interviews Fassbinder's employees, companions and colleagues. "
Web links
- Fassbinder in the Internet Movie Database (English)
- Fassbinder at filmportal.de
- Rainer Werner Fassbinder Foundation
- Real fiction film rental
- Production company IT WORKS! media
Individual evidence
- ^ Boulevard of the Stars: Rainer Werner Fassbinder. In: boulevard-der-stars-berlin.de.
- ↑ Rainer Werner Fassbinder: In the land of the apple tree. Poems and prose from the Cologne years 1962/63. Verlag Schirmer Mosel, Munich 2005, ISBN 3-8296-0714-8 .
- ↑ criticism Fassbinder epd-film.de, April 17, 2015.
- ^ Frank Arnold: Fassbinder on his 70th birthday: Dear Rainerchen In: Spiegel Online Kultur. May 1, 2015.
- ↑ Cristina Nord: film Fassbinder Snoring dogs come in: taz.de .
- ↑ Dietmar Holzapfel: Rainer Werner Fassbinder Dietmar Holzapfel about the film “Fassbinder” by Annekatrin Hendel. In: evening newspaper. May 1, 2015.
- ↑ Katja Nicodemus : Rainer Werner Fassbinder: Who is afraid of this man? In: Zeit Online.de. May 31, 2015.