Bruno Stroszek, a traveling storyteller who performs in Berlin courtyards, gets out of prison for the umpteenth time. When he gets back to his apartment, he finds all of his old things that his friend and neighbor Scheitz had been looking after. One evening, Bruno meets the prostitute Eva in a pub. In an attempt to save her from her violent pimps, he decides to put her up at his place. But the girl’s pimps don’t give up: they threaten and beat the two of them mercilessly. All Bruno and Eva can do is run away, so they accept Scheitz’s offer to go to the United States, where the old man has a nephew who can find them a job. After an interval of apparent tranquility, troubles arise as Eva starts prostituting herself again in order to pay their bills, and then runs off to Canada. Their house is auctioned off. Bruno and Scheitz pull off a grotesque hold-up at a barber shop; Scheitz is arrested immediately, while Bruno continues his desperate escape. —Thessaloniki International Film Festival
One of the most influential filmmakers in New German Cinema and one of the most extreme personalities in film, Werner Herzog quickly gained recognition not only for creating some of the most fantastic narratives in the Film history, but for pushing himself and his crew to absurd and unprecedented lengths, again and again, in order to achieve the effects he demanded. Born Werner Stipetic in Munich on September 5, 1942, Herzog came of age in Sachrang, Bavaria, amid extreme poverty and destitution. After Herzog turned seventeen, a German film producer optioned one of his screenplays, then promptly destroyed the contract when he discovered the author’s age. Circa 1962, 20-year-old Herzog enrolled in the University of Munich as a history and literature student, and produced his first motion picture, the twelve minute Herakles, his second short Game in the Sand, and his third, the pacifist tract The Unprecedented Defense of Fortress Deutschkreuz.In 1963, he established his own production… read more
the final moments of the film are, in their own singular way, as transcendent as say, the end of Last Temptation of Christ or 2001, albeit with a much more gently bathetic view of human existence.
A look at five varied musical compositions used by Werner Herzog as cues in his movies.
What is Stroszek? Stroszek is many things. Stroszek as a character is an archetype, as a movie it is about America but not of America. Stroszek is ‘one of the oddest… read review
It’s not everyday that I’m able to watch a Film five seats over from its Director, but for Stroszek, I was able to enjoy the Film sitting a mere five or six seats away from Werner Herzog. He had great… read review
Stroszek (1977)is an amazing film that keeps getting richer with repeated viewings. For a leisurely paced film of normal length, a hell of a lot is happening on a character, visual and thematic level… read review