Simon Werner Fehlt

In The Niklashausen Journey, Fassbinder co-writes and co-directs with Michael Fengler an avant-garde – and stridently anachronistic – film about Hans Boehm, an historical shepherd who in 1476 claimed that the Virgin Mary called him to foment a holy war against the "decadent" church and upper classes. Despite a temporary success, his followers were eventually massacred and he was burned at the stake.

n Werner Herzog's brilliant adaption of Georg Büchner's play 'Woyzeck', Klaus Kinski delivers a wild and stunning performance in a role only he could play. Franz Woyzeck (Kinski) is a hapless, hopeless soldier, alone and powerless in society, assaulted from all sides by forces he cannot control. Abused and tortured, both physically and psychologically by commanding officers, doctors and his unfaithful wife, Marie (Eva Mattes, Best Supporting Actress at Cannes), Woyzeck struggles to hold on to his humanity and his fragile sanity.


Un ingenuo soldado es victima de la crueldad y la locura, humillado por el sistema y las circunstancias. Woyzeck es un soldado ingenuo, incapaz de ver el mal en los hombres, pensando que si acaso existe, su manifestación será algo extraordinario. Maltratado en el ejército, humillado continuamente por un estúpido y pretendidamente melancólico oficial que cree que la moral y la dignidad es un asunto de clase, y por un médico que le utiliza como exponente de sórdidos experimentos, es llevado a la locura y al crimen. Woyzeck es pobre, y asume su condición y acepta aquellos valores que aseguran que nunca llegará a ser nadie digno.

This film isn't just depraved and misanthropic, it's depraved and misanthropic with heart.
Despite it's grotesqueness, it depicts a fantasy of rebellion and transgression that I've loved for years. The urge to break free and destroy the confining objects and circumstances of our lives is within all of us.
The potential joy of trashing and rendering inoperable our cars, the implements of our work, even our foodstuffs and houses lurks somewhere on a subconcious level, wether we are able to admit it to ourselves or not.
Herzog has made an archetypal statement, very simply and unambiguously. The exhilaration of watching these laughing little people dismantle, bludgeon and set fire to their surroundings is immense. The movie is one of those movies that you really should see, but you may in turn regret seeing it. It's a blend of pure joy, violence and overall having a good time with really limited resources.
The movie is insane! There is a lot of animal cruelty involved; crucified monkeys, burning chickens, … There are also a lot of creepy and unsettling feelings that go along with this movie; some viewers may in fact hate this movie…
It's pure comedy, but the eerie thought of a group of a bunch of dwarfs laughing menacingly at really obscene things is quite unsettling.

Once-beloved Third Reich-era starlet Veronika Voss (Rosel Zech) lives in obscurity in postwar Munich. Struggling for survival and haunted by past glories, the forgotten star encounters sportswriter Robert Krohn (Hilmar Thate) in a rain-swept park and intrigues him with her mysterious beauty. As their unlikely relationship develops, Krohn comes to discover the dark secrets behind the faded actress' demise. Based on the true story of a World War II movie star, Veronika Voss is wicked satire disguised as a 1950s thriller. (-DVD cover)

It is 1850 in the beautiful, perfectly-kept town of Wismar. Jonathan Harker (Bruno Ganz) ia about to leave on a long journey over the Carpathian Mountains to finalize real estate arrangements with a wealthy nobleman. His wife, Lucy (Isabelle Adjani), begs him not to go and is troubled by a strong premonition of danger. Despite her warning, Jonathan arrives four weeks later at a large, gloomy castle. Out of the mist appears a pale, wraith-like figure with a shaven head and deep-sunken eyes who identifies himself as Count Dracula (Klaus Kinski). The events that transpire slowly convince Harker that he is in the midst of a vampyre. What he doesn't know, however, is the magnitude of danger he, his wife and his town are about to experiance as victims of the Nosferatu.
(-DVD cover)

The film starts in the last days of World War II, during the rushed marriage ceremony of Maria Braun, after which her husband is sent to battle the advancing Allies. After Maria later hears that he has been killed, she becomes the mistress of an African-American soldier. When Maria’s husband unexpectedly returns alive, she kills the soldier in a scuffle, but her husband takes the blame. Maria becomes the self-centered assistant and lover of a wealthy industrialist and a model of post-war recovery.

Maria y Hermann Braun se casan mientras caen bombas poco antes de que este sea enviado al frente ruso. Al final de la guerra le declaran desaparecido, posiblemente muerto. Un mundo se derrumba. Alemania está viviendo su año cero. Entre las ruinas, donde reina el trueque y la prostitución, Maria se hace amante de un soldado negro americano, Bill, del que queda embarazada y, en contra de toda lógica, sigue esperando el regreso de su marido…

Whity is about an illegitimate mulatto son of a rich white man who acts as butler to his father's dysfunctional family in the American southwest. As time passes he becomes more than just a simple servant, but a confidant subjected to the family's perverse fantasies. The situation soon becomes unbearable and murder seems the only possible escape. The first collaboration between Fassbinder and cinematographer Michael Ballhaus.