Kings of the Road is about a friendship between two men: Bruno, a.k.a. King of the Road (Rüdiger Vogler), who repairs film projectors and travels along the inner German border in his truck, and the psychologist Robert, a.k.a. Kamikaze (Hanns Zischler), who is fleeing from his own past. When Robert drives his old Volkswagen straight into the Elbe River, he is fished out by Bruno. This is the beginning of their shared journey through a German no-man’s-land, a journey that leads them from the Lüneburg Heath to the Bavarian Forest. Wenders began the film without a script. Instead, there was a route that he had scouted out beforehand: through all of the little towns along the Wall that still contained a movie theater in this era of cinematic mass extinction. The old moving van with the film projectors in the back becomes a metaphor for the history of film—it is no coincidence that the film is dedicated to Fritz Lang. This “men’s story” also treats the themes of the absence of women, of loneliness, and of postwar Germany. At one point, Bruno says to Robert: “The Yankees have colonized our subconscious.”
With his lush and sensual visuals, pitch-perfect soundtracks, and soulful romanticism, Wong Kar Wai has established himself as one of the defining auteurs of contemporary cinema.
Four charming comedies from Eric Rohmer.
“No one sees anything. Ever. They watch, but they don’t understand.” So observes Connie Nielsen in Olivier Assayas’s hallucinatory, globe-spanning Demonlover, a postmodern neonoir thriller and media critique in which nothing—not even the film itself—is what it appears to be.
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