A huge wallpaper reproduction of Nicolas Poussin's The sensibilities of three inimitable storytellers—Ian McEwan, Harold Pinter, and Paul Schrader—complement one another in this slow-burning erotic tale of two couples in Venice.The great director established himself as a voice of the left with this poetic tale set on the working-class margins of French society.Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales.The first we see of our protagonist, she lies asleep, body enshrouded in gloom and nearly cadaverous. Until recently, she has been in a fairly satisfactory S and M relationship with Marlene (her secretary, maid, and co-designer). Petra's marriages have ended in death or divorce. Skip to main content. The Bitter Tears of Petra von Kant is a very important film because the viewer is bound to realize very quickly that it’s a camouflage. Similarly, the set itself subtly changes with each act until the melodrama ends played out on a stage. He is also a regular contributor toFassbinder preserves that mood of tortured introspection but eliminates the social-realist drabness. Enter Karin, a 23-year-old beauty who wants to be a model. a list of 42 titles Though Marlene distributes tea, fruit, and sparkling wine at intervals, there's no definite proof of a kitchen or, as she abruptly ushers in guests, even a front door. It features an all-female cast, all uniformly smashing. The Bitter Tears of Petra von Kant, which he adapted from his own 1971 play, is a berserk, angry, funny and exhausting analysis of sado-masochistic power games masquerading as loving relationships. The Bitter Tears of Petra Von Kant (1972) Rainer Werner Fassbinder. In the early 1970s, Rainer Werner Fassbinder discovered the American melodramas of Douglas Sirk and was inspired by them to begin working in a new, more intensely emotional regi...This 1992 documentary, directed by Thomas Honickel for German television, features interviews with actors Margit Carstensen, Irm Hermann, Hanna Schygulla, and Rosel Zech.This interview with Jane Shattuc, professor of visual and media arts at Emerson College and author of “Television, Tabloids, and Tears: Fassbinder and Popular Culture,” was conducted in September 2014.The following interview with THE BITTER TEARS OF PETRA VON KANT cinematographer Michael Ballhaus was conducted in Berlin in 2014.

MopHead Productions in association with Red Line Productions presents Rainer Werner Fassbinder’s Some time ago, she divorced the husband she no longer loved. The extravagant posturing and extreme histrionics inspire a laughter that is stifled by the movie’s brute emotional candor. “Get lost, you little horror,” Petra sneers at the girl before ordering takeout: “10 bottles of gin.”Margit Carstensen as the title character, a fashion designer, in Rainer Werner Fassbinder’s all-female “The Bitter Tears of Petra von Kant” (1972), now on disc.At once languorous and hard-edge, minimal and over the top, “Petra” provokes a profound ambivalence. In the early 1970s, Rainer Werner Fassbinder discovered the American melodramas of Douglas Sirk and was inspired by them to begin working in a new, more intensely emotional register. Instead, Fassbinder congests the visual field with lavish bric-a-brac in the manner of Josef von Sternberg. Petra (Margit Carstensen) stirs, grumbling about nightmares, but of what did the unconscious warn her? The chamber drama turns into a dream play. Her first husband Pierre was a great love, who died in a car accident while “Le Pont du Nord” is Mr. Rivette’s successful gamble that a movie could be made the same way.Hemlines and Heartbreak in Fassbinder’s ‘The Bitter Tears of Petra von Kant’Like “Celine and Julie,” “Le Pont du Nord,” theatrically unreleased here until 2012 (and now available from Kino Lorber on Blu-ray and DVD), concerns a pair of flâneurs, Bulle Ogier and her real-life daughter, Pascale, 22 at the time. At the time of his death from a drug overdose, at 37, Fassbinder left some 40 features, a pair of TV mini-series and two dozen stage plays. Peter Matthews is a senior lecturer in film and television at the London College of Communication, University of the Arts London. An illustration of a magnifying glass. The movie is dedicated to Ms. Hermann, one of the director’s earliest devotees, here presumably playing a version of herself.The plot revolves around a plot, and the movie, just over two hours, needs time to work its magic. That show us that doesn't matter what sexual orientation are you directed to, love wasn't and easy task to live in. The shot tacitly references Cukor's opening gambit, anticipating a story where elegant surfaces hide tooth-and-claw instincts. The cropped, mural-size reproduction of “Petra” wasn’t the first Fassbinder film to appear in New York, but it was the first I ever saw, as a member of the audience at the 1973 New York Film Festival. It's hard to take our bearings amid the clutter, but physical geography forms no part of the idea. a list of 40 titles