Rainer Werner Fassbinder
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. Over the course of several hours, the sprawling story tracks the everyday triumphs and travails of the young toolmaker Jochen (Gottfried John) and many of the people populating his world, including the woman he loves (Hanna Schygulla), his eccentric nuclear family, and his fellow workers, with whom he bands together to improve conditions on the factory floor. Rarely screened since its popular but controversial initial broadcast, Eight Hours Don’t Make a Day rates as a true discovery, one of Fassbinder’s earliest and most tender experiments with the possibilities of melodrama.
Seattle, 1984. Taking their camera to the streets of what was supposedly America’s most livable city, filmmaker Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of those society had left behind: homeless and runaway teenagers living on the city’s margins
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