Fassbinder’s trilogy is accorded a series of breathtakingly, resonantly gorgeous transfers by Criterion.
Laurie Simmons isn’t so much creating art as a means to explore cinema’s effect on identity as she is conducting an act of indulgence.
Nearly every line of dialogue in Maria Schrader’s film explicitly comments on a larger matter of global diplomacy.
The film’s most striking quality, and it’s not insignificant, is director Margarethe von Trotta’s refusal to fossilize the controversies she dramatizes.
The film is like an ocean: vast and deep, for sure, but also internally turbulent, its tides ebbing and flowing, constantly lapping against its barely-there borders.
Is it a dream that two of cinema’s holiest of grails, Berlin Alexanderplatz and Killer of Sheep, arrive on Region 1 DVD on the same day? If so, don’t wake me up.
To his credit, Rainer Werner Fassbinder’s highly problematic directorial intentions don’t emerge from the literal nowhere.