An almost accidental romance is kindled between a German woman in her mid-sixties and a Moroccan migrant worker around twenty-five years younger. These two people separated by age and race abruptly decide to marry, appalling everyone around them.
This film is not currently playing on MUBI but 30 other great films are. See what's now showing
So strange and surreal, cold, awkward, empty, yet so impressionistic and powerful beyond its means. Fassbinder's restraint and boorishly controlling nature makes it tough to watch but hard to forget.
91/100 - Amazing.
Wonderful. The direction and visual style of this film is just really quite good. You can really sense the love that these two people share and everything that it means to them. Emmi's change once social pressures lessen is what makes this story so fascinating to me. It felt brutally real and definitely incredibly sad. The ending is also great. Not bad for my first Fassbinder! I'll have to watch much more.
Dos amantes que quieren estar cerca mientras todo el mundo parece alejado. La imposibilidad de su amor es recíproca a la de un mundo que se ha vuelto rígido, algo aletargado y que ya no concibe la pureza digna de actos como los de Ali y Emmi. Fassbinder toma de Sirk la temática de un amor intergeneracional que no es acpetado solo para demostrar mejor que nunca su única teoría: que el amor es más frío que la muerte.
A worthy "remake" (kind of seen as debated if it really is hence the quotes) that beautifully creates realistic complexities to the basis of the plot. The handling of race in the film was nicely handled, something of a rarity from a white director.
As a turkish guy, I can say that we've grown up with these kinds of stories since our childhood, especially after "worker immigration" which had happened at '60s with the demand of German government. So the story may be interesting, appealing(or whatever you call it) to most of you, but not for us. But on the other hand, film is quite informative about how those immagrants or minorities have felt in another country.
As in 'I Only Want You to Love Me', Fassbinder turns his hand here not only to melodrama but to didacticism; in lesser hands this material might have amounted to little more than an edifying moral tale providing uplift to self-satisfied bien-pensants. Instead it is shot through with a rich variety of anxieties -- social, personal, and political -- each brought to sad and vivid life via pitch-perfect performances.