BFI Flare Review: Oskar Roehler’s ‘Enfant Terrible’
“‘Enfant Terrible’ is one of the more successful examples of a director biopic, but the familiar conventions of the genre eventually do a disservice to such a talented filmmaker.”
“‘Enfant Terrible’ is one of the more successful examples of a director biopic, but the familiar conventions of the genre eventually do a disservice to such a talented filmmaker.”
“In Fassbinder’s conception of West Germany following its chaotic autumn, terror takes on the tenor of performance art; like addicts lusting after a fix, the groupuscule seeks ennobling sensation; they must be satiated by “Something symbolic…”
Pablo Staricco Cadenazzi Interviews Italian Directors Damiano and Fabio D’Innocenzo
In the Vague Visages Writers’ Room on Slack, freelancers were asked to comment about their favorite new wave films from any international movement.
“Fassbinder created a masterpiece that is relatable due to his depictions of racism, discrimination and the complexities of identity — themes which still resonate loudly today.”
“Fifty-three years after initial release, ‘The Umbrellas of Cherbourg’ continues to be a formally and contextually innovative French New Wave production; a film that has influenced contemporary directors such as Barry Jenkins, Damien Chazelle and Joachim Trier.”
“‘Brothers of the Night’ takes an unexpected approach and reveals hidden parts of life amongst Bulgarian male hustlers in Vienna.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“A tiresome example of early 2000s prestige filmmaking, 21 Grams holds the impressions of grand gestures without any of the substance.”
“An emotionally existential journey through the cycle of love, Fassbinder’s film conveys an incredible power for empathy, and a profound understanding of deeply human characters.”
“While Beware of a Holy Whore symbolizes a voice for Fassbinder’s many criticisms of the filmmaking process, he uses aspects of the film to parody his own life and dispositions.”
“A surrealist bookend to his unofficial gangster trilogy, The American Soldier finds R.W. Fassbinder not only at peace with his version of cinematic grace but more cynically-minded than ever.”
“A complex study of character and mood, Gods of the Plague relies heavily on subtly-crafted and detached scenes to amass larger thematic ideas of isolation, jealousy and love.”
“Basking in drawn-out pauses and uninterrupted tracking shots, Fassbinder strives to make his audience feel a profound discomfort and delights in presenting an errant challenge to his viewers’ integrity.”