Jorgos, a migrant worker from Greece, joins a group of young people in Munich usually hanging around. This foreigner incites hostility and jealousy among them, and he is insulted as a "...
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Jorgos, a migrant worker from Greece, joins a group of young people in Munich usually hanging around. This foreigner incites hostility and jealousy among them, and he is insulted as a "Communist" and "Greek dog". After having been attacked, Jorgos talks to Maria of his wish to return home.Written by
L.H. Wong <firstname.lastname@example.org>
In college I'd enjoy the foreign film art house and fell asleep to them all the time. So films like this are greatly pleasing to me. Though was not expecting such casual violence to women, and well, emotional violence between them as well. The only relief are the cold war, secrets whispered, death row piano walks. The German pairs are only in love for how repelled they are by each other. I hate to go there but these would be the kids of Nazi's, is the outsider shaking up their cruel-paradise metaphoric? It plays as theater, extreme minimalism but not US's ironic minimalism for fashion or Japanese paper doves; rather it revels in contrasting its vicious minimalism with the conscience of the artist, who also plays the victim. (Self-righteous in a way? His presence is so gentle, but then he as an artist devised these wretched creatures, and many accounts painted him as an evil man). Life as the body. The frame trap these characters between sleazy plans to be pimps, landlording, show business, and they all come together to stand around and be haters. Fassbinder tortures his subjects inside misanthropic chilly world. The pace is brutal, I viewed it a second time at 2x speed.
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