Rainer Werner Fassbinder Movies

The makings of a powerful filmmaker are clearly in evidence.

There's less plot than usual, but the portraiture already seems firmly in place.

This wallow in fatalism is a minor but memorable crime flick.

Fassbinder navigates carefully between mockery and empathy, heightening the interior drama with his superior staging.

This is Fassbinder before he froze up as a Douglas Sirk impersonator: a real punk movie, full of wonderfully half-baked ideas.

Fassbinder's provocative 1970 meditation on race and class.

[An] edgy, violent, impacted movie.

Rainer Werner Fassbinder has a genius for detailing the pain of suppressed emotional states, and even at its most achingly deliberate, his style in dealing with the petit bourgeois mentality is a source of endless fascination.

Rainer Werner Fassbinder's most harshly stylized and perhaps most significant film.

If you know Fassbinder, you might want to see this as an exercise of his mind, a demonstration of how one of his stories might be transformed by the detachment of science fiction.

Regarded as one of the high-water marks in German New Wave cinema of the 1970s, Ali: Fear Eats the Soul is at once an intense portrayal of a relationship and a tribute to one of Rainer Werner Fassbinder's film heroes, Douglas Sirk.

The slow, deliberate pace is sometimes taxing, but this story is perfectly suited to Fassbinder's stifling mise-en-scene.

Here is a movie about characters who define themselves by their sexuality, but the movie doesn't. It takes the sexuality as a given, and defines them by their values and morals.

No other director understands the strength of mediocre minds as does Fassbinder; when his films don't slip into derision, they can be ineffably moving, as this one is.

If you have any doubt that there's such a thing as being too prolific, by all means go see Rainer Werner Fassbinder's Satan's Brew.

The camera seems much more interested in exploring the glass and chrome furnishings than in examining the characters, and by the time the film is finished, so is the audience.

Despite a witty, albeit theatrical, script by Tom Stoppard, prolific German director Rainer Werner Fassbinder does not quite bring off the spirited linguistic innovations, wit and penetrating insights of Vladimir Nabokov's novel.

Fassbinder himself was cruel and distant to those around him, particularly those who loved him, and in Maria Braun, he created an indelible monster who is perversely fascinating.

Quintessential Fassbinder.

Episodic, aurally and visually cluttered, and calculated to irritate, but like most Fassbinder films, worth a second look.

It has a wicked sense of humor, displayed in Fassbinder's two favorite opposites, understatement and hyperbole.

A bitter, brisk, sometimes abruptly moving satire about the West German economic 'miracle' of the 50's.

Fassbinder's visual style is the perfect match for this subject.

Except for some things that Miss Moreau does, Querelle is not only humorless but also uncharacteristically witless.