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So it was a challenge on our side, I must say almost a patriotic challenge, to say, “Yes, we can.”And this somehow was the merit of the movie, that it seemed to find common ground for lots of people where you would not have expected that an audience would go for that, would be politically so engaged. We were still, including Fassbinder and Wenders and a few others, not much more than a dozen. And so, words . We’re in an atomized universe, so I suppose young filmmakers are much more lost than we used to be.So for the next one, I returned to literature, and very soon I discovered that I was, somehow, good at translating literature. That is the whole deeper meaning, that wherever you look in the world, you have a feeling that most conflicts are totally stupid and unnecessary. . Volker Schlöndorff and Margarethe von Trotta’s stinging indictment of German media and state force Now on Blu-ray When a young woman spends the night with an alleged terrorist, her quiet, ordered life falls into ruins. All the Colors in … And these three currents merged in the same summer, with our first pictures coming out, and it was obvious—I mean, we didn’t know each other before, we knew each other through these first films, or let’s say during the prepping of the movies—but it was obvious that we were a movement, whether we wanted it or not, different as we were. Search Cart. Account.
An intellectual like Alexander Kluge, or Werner in his own way, then me, and when later Wim and Fassbinder joined, again, they joined this group in a very coherent way. Directed by Volker Schlöndorff • 1990 • United States Starring Natasha Richardson, Faye Dunaway, Aidan Quinn Adapted by Harold Pinter from the landmark novel by Margaret Atwood, the original screen adaptation of THE HANDMAID’S TALE takes place in an authoritarian future America where young, healthy women must serve the country by giving birth to babies for an increasingly infertile society … The exodus of the Fritz Langs and Billy Wilders and so on, did it really finish off Germany filmmaking once and forever? Home. But that was not it at all. This past August, on the occasion of Volker Schlöndorff’s being selected for a Silver Medallion award by the Telluride Film Festival, Criterion’s Peter Becker talked with the German filmmaker about his long career. It was not sectarian. Volker Schlöndorff . It was part of what was happening in Berlin. My Criterion. And here it was expressed, coming out of the First World War, like the German painters Otto Dix and George Grosz, indeed, in a very, let’s say, antibourgeois way. The Criterion Collection. 7 Results . A German Movie, a new video interview with writer-director Volker Schlöndorff in which he reflects upon the making of Young Törless and its subsequent impact; Rare presentation of the original score by acclaimed composer Hans Werner Henze, with a video introduction by Schlöndorff I think words can change reality.The Baltimore-based filmmaker talks with us about her bold exploration of technology, sexuality, and loneliness, now playing on the Criterion Channel.The industry, the way producers and people come together, has certainly changed a lot. In the late ’60s, early ’70s, you could still have the feeling that you knew every movie made in the world in the last ten or twenty years. It’s all about things that people have in their minds, the idea of an enemy, the way to fight them. Sort Direction. Dashboard; Orders; Wish List; My Collection; Log In; Menu Close Menu.
Here, to mark the arrival of Schlöndorff’s latest endeavor, Diplomacy, in theaters this week, we present a longer cut. Are we incapable of this, or is our culture really dead? And even though it was at the time considered a minor genre, I thought, It’s better to do what I’m good at than what I really like to do.