Harry Baer

  • Fred Kelemen – Frost (1997)

    Frost is a landmark European film, cementing Fred Kelemen as an inheritor of Rainer Werner Fassbinder and Werner Herzog. This three-hour epic 16mm film focuses on a mother and son fleeing her abusive husband in Berlin and wandering the former East Germany seeking a town that has long since vanished. Set during a sunless Christmas, Frost slowly unfolds during their one-week odyssey across glacial landscapes, towards peace. Introduced by the film critic Jonathan Romney.Read More »

  • Hans Günther Pflaum et al. – R.W. Fassbinder – Criterion Bonus Disk (1993)

    This is an excellent hour-and-a-half documentary overview of Fassbinder’s career. For those new to the director, this is the perfect starting place (perhaps even before watching the films).Read More »

  • Rainer Werner Fassbinder – Pioniere in Ingolstadt aka Pioneers In Ingolstadt (1971)

    A “Three Movie Buffs” review:
    This early Fassbinder film tells the story of two very different women, both friends, in a small German town. One is Berta an innocent maid and virgin who falls hopelessly in love with Karl, the first man she has sex with. The other woman is Alma the town slut. She is sleeping her way through all the soldiers (or pioneers as they are called) that are in town to build a bridge.Read More »

  • Rainer Werner Fassbinder – Die Dritte Generation AKA The Third Generation (1979)

    “A comedy in six parts,” each introduced with a quote taken from a public bathroom wall (“Slave seeks master to train me as his dog,” etc.). The Kaiser Wilhelm Church dominates the Berlin skyline as seen from a glass-paneled, high-rise office, a shooting takes place on a monitor. Surveillance footage? No, the ending of The Devil, Probably. Each generation has the revolutionaries it deserves, after the Baader-Meinhoff affair you’re stuck with middle-class ninnies: leader Volker Spengler secretary Hanna Schygulla, schoolteacher Bulle Ogier, composer Udo Kier, housewife Margit Carstensen. The puppet master is the industrialist (Eddie Constantine) who heralds cinema’s utopian lies (“As long as films are sad, life isn’t”); his corporate must promote security equipment, so he manipulates the radicals into kidnapping him and sits back to enjoy the clown show.Read More »

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