Retrospective of the new German cinema for the anniversary of Fassbinder

NOVOSIBIRSK. A retrospective of the Goethe-Institut Around Fassbinder has opened in the Pobeda cinema.

Rainer Werner Fassbinder was in the company of the greats who left at 37 (Byron, Pushkin, Khlebnikov, Mayakovsky and Lorca) in 1982. Had he lived to the present 70, several dozen films and theatrical productions would have been added to his extensive filmography, he was so unstoppable and passionate in his work. It reflected the breakdown and shock experienced by German society in the postwar years after the revealed truth about what was happening in Germany in reality.

The director remained in the positions of a radical anarchist and nonconformist, sympathized with the RAF organization along with Böll and Grass, for which he was attacked. He believed that his country did not take the chance for a qualitative reboot after 1945, which deprived her of prospects for development in the right direction. A crazy shooting schedule, work to exhaustion and the use of prohibited substances led to the fact that Fassbinder passed away at 37. The past 33 years have not changed anything in assessing his talent and scale, and his films are still relevant.

The retrospective format allowed us to recall not only Fassbinder, but also the work of his friends and those whose names were included in the list of the most talented people in German cinema: Schroeter, Lilienthal, Tome, Schmid, Peter W. Jansen. The festival was decided to open with the film "Effie Brist", an adaptation of Theodore Fontane. Fassbinder considered him one of his best creations, the money for the shooting of which he allocated. The black and white aesthetics of the picture was perceived by potential sponsors completely negatively, which did not stop her from fully paying off and bringing significant profit.

Of particular interest from among those presented in retrospect are two tapes: “A Conversation with Rainer Werner Fassbinder” by Peter W. Jansen and “David”. The first - with visual conciseness and the absence of spectacular cinematic techniques - a unique document that allows you to hear the rarely interrupted monologue of the director, who talks about life and work. Lilienthal’s “David” is one of the first German paintings about the Holocaust, the terrifying truth of the tragedy of which is truly revealed to the Germans only years after the war.

Elena Tanakova © Gallerix.ru