Two women in Germany, two sisters, both were born during the war and grew up during the “leaden times” of the 1950s. Marianne and Juliane fight for social change during the 60s, however their means are totally different.
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To review the most remarkable story of her generation through a "backstage" look. That is, to perceive the movements of the terrorist brigades of the 70s, through the biography of Ulrike Meinhof sister, mixing the chronological with relational link, a fictional perspective that fits an ethical drift and its becomings, without forgetting the narrative language. A fair emotive attitude without an emotional reverie.
A psychological tale about two sisters and their incapacity to accept the personal choices of the other. Marianne is a famous terrorist while Juliane works on a mainstream magazine. When Marianne gets arrested, lefting behind her young son Jan, Juliane becomes her only connection to the world outside. And that's when they start to really know each other. ★★★★★
Un des films les plus connus et les plus enthousiasmants de la réalisatrice Margarethe von Trotta qui évoque courageusement le dramatique destin de Gundrun Ensslin, une des fondatrices de la fameuse "Rote Armee Fraktion", avec Andréas Baader qui défraya la chronique politique et médiatique des années 1970... www.cinefiches.com
Interesante filme sobre la relación entre dos hermanas. Ambas en su presente son militantes de los derechos, sea femeninos o políticos, pero la radicalidad las separa. Ellas conversan y nos enteramos de sus antecedentes. Desde la religión hasta el nazismo; una serie de rasgos conservadores y patriarcales parecen haber mellado la integridad de las mujeres. Su final:es necesario conocer el pasado para saber el presente
3-3.5 Having not read the biography by Meinhof's sister, I think it's a fair film. It functions basically with the sisters openly clashing back and forth as cleanly defined characters offering different sides of the same issues. Its evocative nature and relative emotional ambiguity elevate it, and like M, I think it ends with a proper shift in focus to consequences for the real victims of these circumstances.