The goalkeeper Josef Bloch (Arthur Brauss) is sent off after committing a foul during an away game. This causes him to completely lose his bearings. He wanders aimlessly through the unfamiliar town, spends the night with the box-office attendant of a movie theater (Erika Pluhar), and strangles her the next morning. But instead of turning himself in or fleeing, Bloch then goes to the country place of his ex-girlfriend (Kai Fischer) and passively waits there for the police to come and arrest him. As Wim Wenders himself has stated, the visual idiom of Alfred Hitchcock’s films provided the model for his debut film. He adheres minutely to the thoroughly “cinematic” source, a novel by Peter Handke. With his cameraman Robby Müller and his editor Peter Przygodda—both of whom had already worked with him on his film thesis at the HFF (University of Television and Film Munich)—in The Goalie’s Anxiety at the Penalty Kick, he set forth a collaboration that would weld this team together for years.
Join Janus Films in 2018 as we celebrate the centennial of the Swedish director’s birth with a traveling retrospective of all of his theatrical films!
For what would prove to be his final film, Iranian director Abbas Kiarostami gave himself a challenge: to create a dialogue between his work as a filmmaker and his work as a photographer, bridging the two art forms to which he had dedicated his life.
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Commissioned to make a working-class family drama, up-and-coming director Rainer Werner Fassbinder took the assignment and ran, upending expectations by depicting social realities in West Germany from a critical—yet far from cynical—perspective.
Rainer Werner Fassbinder
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