On a film set there are two things missing, the film material and the director. So the actors and actresses as well as the crew try to make the best out of the situation. When the director ... See full summary »
On a film set there are two things missing, the film material and the director. So the actors and actresses as well as the crew try to make the best out of the situation. When the director arrives the material is still missing and so they still wait and try to make the best out of the situation. When the material finally arrives all folks involved into the film find themselves in a weird situation. Jealousy, competition and despair are ruling. Nobody seems to be able to break through this atmosphere, so they all still try to make the best out of the situation, but this is probably not the way to finish the film. Written by
Fassbinder wasn't known for comic hijinx (if you've sat through SATAN'S BREW, you'd remember it), but probably the most sheerly pleasurable of all his movies is this rather premature but quite welcome self-parody.
The maestro's Bavarian-slob ripoff of Warhol's Factory is keenly lampooned in this oh-so-languid art-movie take on TWO WEEKS IN ANOTHER TOWN. Fassbinder plays a grubby and wildly sadistic producer holed up in a half-swanky, half-tatty seaside hotel with half a movie in the can and no finishing funds. That's the Beckettian setup for a lobby full of achingly sexy and heroin-esque Fassbinder heroines, pretty boys getting their feelings hurt, drinks swallowed and thrown, and a lot of people getting yelled at in public. If that sounds like par for a familiar course, the difference is that here it's all played for yuks--but with such an exquisite deadpan you can practically hear R.W.F. smothering his guffaws behind the camera.
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