Every seventh year is one of the moon. In such years people suffer increasingly from emotional ups and downs and depression. Moon years such as 1978 are years that have 13 new moons. This inevitably leads to personal catastrophes. Frankfurt 1978. In an attempt to escape from her own past, Elvira Weishaupt (Volker Spengler) looks for refuge within a circle of people familiar to her. When she only encounters derision and rejection she is left with only one option … —Rainer Werner Fassbinder Foundation
Rainer Werner Fassbinder (May 31, 1945 – June 10, 1982) was born into a cultured bourgeois family in the small Bavarian spa town Bad Wörishofen. Raised by his mother as an only child, the boy had only sporadic contact with his father, a doctor, after the divorce of his parents when he was five. Educated at a Rudolf Steiner elementary school and subsequently in Munich and Augsburg, the city of Bert Brecht, he left school before passing any final examinations. A cinema addict (“five times a week, often three films a day”) from a very early age, not least because his mother needed peace and quiet for her work as a translator, “the cinema was the family life I never had at home.”
Fassbinder made his first short films at the age of twenty, persuading a male lover to finance them in exchange for leading roles. He also applied for a place at the Berlin Film School (dffb), but was refused. He acted in both his early films: DER STADTSTREICHER (The City Tramp), which also featured Irm… read more
Highly recommend listening to Jualiane Lorenz's audio commentary in which she gives insight into the socio-political context (the rise of Frankfurt as a business central + the issue of empty high-risers) and the personal context (Fassbinder's difficult year + parts of his childhood) which helped shape the film. And even more fascinatingly, she talks about the creative inception and the filming of such hauntingly poetic scenes like the one at the slaughterhouse, the scene with Fassbinder's interview on his childhood flashing on and off the TV, and the final sequence with Spengler's unscripted interview playing as a voice-over.
Yes, Juliane Lorez gave an indepth commentary. It was fascinating to know that this film was inspired by the death of his lover. As JL was describing the gruesome scene with the cows, it was tough but i understood the bravery of Fassbinder visual creativity to represent that scene with the voiceover of main character describing his gender change.