Characterized by deconstructivism and philosophical references and by briefly exposing the good, bad, and ugly periods of the country's history, this post-modern film portrays the abstract ... See full summary »
In part one there is talk of a project on the subject of love, with the example of three couples, one young, one mature and the other elderly. At this point the author comes into contact ... See full summary »
Carmen is a member of a terrorist gang who falls in love with a young police officer guarding a bank that she and her cohorts try to rob. She leads him on while dragging the two of them ... See full summary »
Collage of dramatic scenes, some exaggerated to comic effect, with asynchronous sound from well known classic, operatic, and rock and roll music - with different approaches to love, suffering, and death.
A sad man meets a beautiful, secretive woman who may or may not be involved in some conspiracy ring dealing in kidnapped women used as prostitutes. After several days of their sadly ... See full summary »
Vicente, seventeen, lives with brother Nino, ten-years-old, and his ailing father in a derelict house on the outskirts of the capital. They don't seem to remember their mother, and are very... See full summary »
Inês de Medeiros
The Boys' Village was once a holiday home for coalminers' sons, boasting a pool, sports yards and even a chapel of its own. Not much remains of its former glory, though. Shattered glass and... See full summary »
Werner Schroeter's movies are known to be difficult to approach, at least if one comes from the background of literature-based film theory and searches for subject-predicate structures, topic-comment distribution or the connection of stereotypes. All these strategies have in common that they are based on 2-valued logic which imitates the physical schema of cause and effect in language. Although many film makers have tried to replace these rationalist structures by associative structures, the material has been proved rather stubborn, and we are today still heaven-wide distant from even the basics of a theory of associations which goes beyond the rather primitive, behavior- based fundamentals of the psychology of the early 20st century.
However, as Schroeter continues to prove, it is well possible to develop whole narrative structures which are not based on rationalist preconditions. An important procedure in "Der Rosenkönig" (1986) is the use of metaphor and ritual and to create a semiotic-based double world, starting from Pre-Illumination concepts. While surrealism, as the term correctly predicts, starts with reality which is transcended (by usually reality-based methods), the semiotic worlds of Schroeter are not found in the reality of objects, but, in the opposite, the reality of objects are found in the semiotics of associative systems. Not the object and its reality are primordial, but the sign and it thematics. If somebody would have the capacity to extract a metaphysics of how Schroeter actually creates (and not depicts) reality, we would have a theory of a new world that would deserve its name. A world in which the word is substituted by a metaphor and the objective acts are substituted by rituals. (Needlees to say that in the letter device Schroeter goes way beyond Pasolini whose later work may have been Inspiratory for "Der Rosenkönig" as the Rose-King himself plays one of the victims in Pasolini's "Salo".)
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