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类型:纪录片
主演:赖纳·维尔纳·法斯宾德 伊尔姆·赫尔曼 哈里·贝尔 莉萝·潘蓓
语言:德语
年代:未知
简介:Rainer Werner Fassbinder was probably Germany’s most significant post-war director. His swift and dramatic demise at the early age of 37 in 1982 left behind a vacuum in European filmmaking that has yet to be filled, as well as a body of unique, multi-layered and multifarious work of astonishing consistency and rigour. From 1969 onwards, Danish director and film historian Christian Braad Thomsen maintained a close yet respectfully distanced friendship with Fassbinder. Fassbinder – Lieben ohne zu fordern is based on his personal memories as well as a series of conversations and interviews he held with Fassbinder and his mother Lilo in the 1970s. The film also contains current interviews with Irm Hermann and Harry Baer, both of whom were close to Fassbinder. Beginning with Fassbinder’s extraordinary childhood in traumatised post-war Germany, the film, which is divided into seven chapters, provides an illuminating, intimate and moving tribute that bears witness to the enduring relevance of both the man and his work. Today in particular his oeuvre continues to provoke us to engage with controversy and tension – be it aesthetical, creative or critical. berlianle 2015
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类型:爱情片
主演:尤利·隆美尔 汉娜·许古拉 赖纳·维尔纳·法斯宾德 Yaak 卡特琳·
导演:赖纳·维尔纳·法斯宾德
语言:德语
年代:未知
简介:慕尼黑青年弗兰茨(赖纳·维尔纳·法斯宾德 Rainer Werner Fassbinder 饰)出狱后,决定金盆洗手。但他转眼就被黑社会组织盯上,想要诱使他重新犯罪,但是弗兰茨意志坚定,拒绝就范。他回到慕尼黑找到女友乔安娜(汉娜·许古拉 Hanna Schygulla 饰),两人住在一起。弗兰茨整天无所事事,靠着乔安娜的接客钱生活,但是乔安娜一直渴望与他结婚,过上平静的生活。不久,弗兰茨的狱友布鲁诺(尤利·隆美尔 Ulli Lommel 饰)来到慕尼黑找到弗兰茨,跟他们住在一起。布鲁诺其实是黑社会组织成员,他设计了几个陷阱试图让弗兰茨重回犯罪之路,但是弗兰茨毫不知情,甚至让自己的女友去陪布鲁诺。虽然弗兰茨对乔安娜毫不在意,一心爱着弗兰兹的乔安娜在布鲁诺再次陷害他的时候报了警,乱枪中布鲁诺被打死,弗兰兹和乔安娜试图逃跑,但是他们面前的死亡之路似乎无法逾越。
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类型:情感片
导演:赖纳·维尔纳·法斯宾德
语言:德语
年代:未知
简介:别名:小心圣妓/当心神圣的妓女/BewareofaHolyWhore1970年是法斯宾达的电影人生中最多产的一年,单是剧情长片便拍了不下六部风格、类型、题材等皆各异的作品,而黑色喜剧《小心圣妓》便是其一。但对影迷来说,也许更重要的是此片乃法斯宾达自认最好的个人作品。虽然影片的名字像极与妓女有关,不过故事内容却是另一回事。它主要讲述一群苦候拍摄电影的人,因导演失踪、器材不见,唯有在冠冕堂皇的西班牙酒店内有如行尸走肉四处飘浮,直至导演出现,大家才抖擞精神。怎料导演忙于拍摄之馀,更要落力应付各方滋事份子,令他疲于奔命,最后他还要面对巨大的财政压力,而各位演员也开始鼓譟起来...此片无疑可说是导演的个人写照,透过自嘲、黑色幽默等手法讽刺片场如地狱,不过更值得注意的是此片的混杂风格,既承接他早期的剧场化叙事,亦开其日后的通俗剧形式,可说是法斯宾达电影创作上的重要过渡作品。