6.7/10
152
5 user 3 critic

Die linkshändige Frau (1978)

After returning from a business trip in Finland, Bruno (Bruno Ganz) find that his wife Marianne (Edith Clever) wants her husband to leave her alone with their son. A struggle with loneliness and adapting to the new situation ensues.

Director:

Writers:

(novel), (screenplay)
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3 wins & 2 nominations. See more awards »
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Cast

Credited cast:
Edith Clever ...
Marianne
...
Bruno
Bernhard Minetti ...
Vater
...
Verleger
...
Franziska - Lehrerin
...
Schauspieler
...
Kellner
...
Frau im Versammlungslokal
Ines Des Longchamps ...
Frau mit Kind
Markus Mühleisen ...
Stefan - Sohn
Rest of cast listed alphabetically:
Simone Benmuse
Philippe Calzerques ...
Stefan's Friend
Sam Cuzelin
...
Mann mit dem T-Shirt
Walter Greinhart
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Storyline

After returning from a business trip in Finland, Bruno (Bruno Ganz) find that his wife Marianne (Edith Clever) wants her husband to leave her alone with their son. A struggle with loneliness and adapting to the new situation ensues.

Plot Summary | Add Synopsis

Plot Keywords:

based on novel | See All (1) »

Genres:

Drama

Certificate:

See all certifications »
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Details

Official Sites:

Country:

Language:

Release Date:

26 May 1978 (West Germany)  »

Also Known As:

The Left-Handed Woman  »

Filming Locations:

 »

Company Credits

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Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Die linkshändige Frau (1978) was shot in the town Clamart, close to Paris, France. The film is also set there. Director Peter Handke lived in Clamart between 1977 and 1978 with his daughter Amina. See more »

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User Reviews

 
Best introduction to Handke's world
1 October 2002 | by See all my reviews

Of the many films by Peter Handke (either alone or with his partner Wim Wenders) this may be the most appealing. It is also not recommended for modern viewers accustomed to Hollywood's rhythm -it is long, slow paced and even difficult to follow sometimes. I strongly recommend viewers to read the book too, although they may not find too many additional clues there, for Handke's style is to reflect the character's actions rather than their thoughts (which, by the way, should be the perfect cinematic approach). Some people have wasted their time especulating about the woman's reasons to divorce her husband: the french essayist Gilles Lipovetsky even said that her "lack of good reasons" is a sign of modern life's emptiness. In fact, we can not say she does not have reasons: only we are not allowed to see them on the screen. One might even think that Handke himself did not care to build the woman's inner thoughts (and if he did, he sure did not share them with us). The movie, and the book, are about communication between us, or at least this is one of its possible readings. Do we really know what is on other people's mind, even people real close to us? The answer is no: we can only talk of what they tell us, or what we might hint, but how many times had we been completely wrong about somebody? The movie defies the usual assumption of an omniscient camera: the woman would not share her thoughts with the viewers, and this leaves us with a sense of discomfort. We feel compelled to find motivations that are just not there. Just the fact that the movie makes us think about it would be enough to qualify it as a masterpiece.


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