Oskar Roehler “Enfant Terrible” ran through an impressive summary of the life of Rainer Werner Fassbinder and worked – brilliance, sadism, compassion and disposal to print leopards.
Roehler began with the Munich Fascbinder action theatre in the early 20s:
His artistic talent feared the power of nature released in an unsuspecting world. The historical milestone account of the following 40-plus director features, from “CORTER CONE FROM DEATH” for Cannes Breakthroughs from “Ali: Fear of Eating the Soul” For Narcotics Dreams “Querelle.”
He holds a circle of collaborators and lovers, but habits and sadistic drugs (he died in 1982 at the age of 37) made him friends with a tornado.
Famous Fassbinder players include actor Kurt Raab (Hary Prinz) and El Hedi Ben Salem (Erdal Yildiz). A male leader of “Ali: Fear of eating the soul” and a lover. Not all appeared by name (Rising Star Frida-Lovisa Hamann, “Martha,” seems to be Hanna Schygulla).
Oliver Masucci (“Dark”) led his dirty genius, and I loved it when he shouted and was a call, but I still wanted more. (Fanboy argued: The actor showed off potbelly, but he was almost half a foot higher than the Fassbinder.)
Roehler shoots “enfant terrible” on studio sets such as stage, work through certain style elements of certain Fassbinder films. It looks to add more love tribute than just Hollywood style “the biggest hits,” partly because of the hug of the potion of the Fassbinder from QUEER and the working-class experience.
But this film feels hermetic and declarative, and ignorance constantly reminds the viewers of the alkhuyan colour, lighting, angle, and the desires of the Fassbinder that cannot replicate.
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The terrible enfant is, by all intentions and purposes, biopics of filmmakers behind bitter tears.
Roehler’s title sets the stage for how movies and audiences, and even fans together, tend to understand the Fassbinder. But “terrible enfant” couldn’t help but sounded like surrounded by a reverse coma. A disappointment flowed through a film that maintained a sense of humour who bravely, the director remained alive.
As a production design (by Roehler itself) explained. This film is entirely not interested in the truth. The hand-painted background aims for the type of stage atmosphere – but cinematics that is too familiar to the Fassbinder massacre.
In the theatre, we first met a filmmaker who Oliver Masucci would soon play. Already intended to solve an independent theatre from inside, he refused to let his actor play it naturally. He pushed them instead into the returned shipment and blocking. He aims to be confusing; He wants the audience to react.
That’s why he suggested giving an audience member who sat tomatoes and then hid them for fun. In the form of true Brechtian and Arsaudia. He knows that it cannot be achieved if you touch reality. Roehler followed suit.
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With the pilot-heavy pyucci fancy binder in the centre:
Enfant is terrible is Précis on filmmakers’ way to infamy. The film traces moving from the stage to the screen and its affairs with some prominent men. The way they are established is the belief that Fassbinder sadism characterizes every interaction – whether it is with a friend during training or lover in bed.
Remembering it, as Rainer said in the film, he turned to the cinema. Because it is the only place, he could tell to those who dreamed and dreams. Destroyed them (“dishonest marriage and destructive – like all of you; all films I; is about that, “he added later), it was correct when Roehler aimed at the same sensibility here.
The Roehler film wants to constantly play. To such an approach and subvert it at every turn. What arises is a truly unique type of biopics that feels quite insular. For those who don’t know but are full of fun games. For those who come armed with an understanding. Of who the fancy binder and what he will represent.
