A wonderfully touching yet bleak offering from Wim Wenders. Bleak because it's about a mother abandoning her daughter to a virtual stranger and it's about the emptiness to be found in city life. The film somehow highlights the stark emptiness of a city but offsets the gloom by showing it through the innocent and warm eyes of a child and that of a writer who feels just as lost as his motherless companion. Great film!
Digital restoration, rewatched. The film that inaugurates the North-American heritage and influence in Wenders, for its geography, urbanity and cinema, but also a film that makes with Germany what Robert Frank realized in "The Americans" - a contextual portrait of a landscape, a country and a society in which spaces and people fulfill the same dimension of "topos" and "pathos", being film its linguistic corpus.
A marvel of wandering. Yella Rottländer's turn as Alice ranks among the most astonishing masterclasses in cinematic performing, regardless of age. Sublimely scored by Kraut gods, Can, along with a brief, magical appearance by legendary folkie Sibylle Baier. Wenders's finest hour.
Alice doesn't dream anymore: "Dream? Words like that don't count. Only things that really exist.", but they tell each other their dreams. It's also comforting when you've "lost all sense of your own self" to have someone take a picture of you "So at least you'll know what you look like". Great film.