A depressing, slow-burning gay drama that only Fassbinder (also fantastic in the lead role) could have conceived—full of pathos and rich in its depiction of the milieu of a class-divided queer community.
This less celebrated entry in Fassbinder’s BRD trilogy is a biting take on capitalism and the commodification of the body as postwar Germany rebuilds.
The perils of drug addiction meet with the allure of a faded Third Reich star in Fassbinder’s evocative and fatalistic penultimate film.
A relentless if chaotic sound design intensifies this controversial ensemble drama about a group of middle-class European terrorists trying to find an impetus for action amid the lull of domestication.
This early Fassbinder is one of his most piercing works, exploring the consequence of domestic and professional stress through a series of highly-engaging conversational long takes.
Polished, precise and beautifully-shot in black-and-white, but its cold and austere treatment can be a long, alienating slog.
Continue reading →Fassbinder’s second feature continues his minimalist and spare direction, this time centering on a group of xenophobic, good-for-nothing friends.
Continue reading →Despite expert staging of mise-en-scene and astute camerawork, Fassbinder’s psychological chamber piece on infidelity and deep-seated hate probably only works as an intellectual exercise.
Continue reading →A powerful if narratively-dense film imbued with a devastating sense of cruel irony, with Fassbinder’s masterful control over sound especially striking.
Continue reading →Fassbinder’s comedic farce of a film is shocking, revolting, and occasionally enjoyable.
