The Bitter Tears of Petra von Kant evaluation action

2022-01-20 08:04
"Die bitteren Tränen der Petra von Kant" is a movie with a very strong sense of stage. The story unfolds in a closed space. The structure of the story is "screen", with a lot of lines and rare background music. These elements all make the movie look more like a stage play than a movie.
The director of the film, Fassbender, is not only lingering about the performance of the stage play. The complicated scene scheduling and the convenient performance of photography are enough to see the skill and ingenuity of the director and photography. Patina's apartment, or the bedroom, becomes the only scene in the film. The main prop in the story is the bed, followed by the typewriter. The six women went around, all the emotional entanglements of falling in love and killing each other happened, developed, and ended in this room. The so-called staged, roughly refers to the single scene, the props are simple, and the freehand nature is strong. For movies only, the rich outdoor space allows the lens to be liberated, and the realism makes the movie different from other visual arts. The diversified audiovisual language of movies will inevitably strengthen the richness and emotional tension of the characters. Fassbender did not violate the conventional language of the film, but only expressed the audiovisual language to the extreme, and his personal stylization was obvious. In Ballhaus’s shot, the metal bed frame is a bright color in the picture, but it does not steal the spotlight. The background of the whole bedroom in a single color has some bright colors, which increases the sense of layering and space in the picture.
Similarly, Patina and Karin wore dresses with a strong sense of decoration. The metallic colors on their bodies are also the highlights in the picture, but these highlights are only supplements to the level of the picture and are not eye-catching. The costumes of the characters also use materials with strong drape, which deliberately avoids the appearance of large curves in the picture, breaking the deliberately created tough, boring, and lacking fluidity of the picture texture. The character's heart is so distorted, but she has to sit tightly closed one layer after another.
Ballhaus realized that Fassbinder needed to isolate the space of the discipline object, and after proper arrangement and distribution of the enclosed space, it could be better understood, supervised and controlled. The film’s photography style is clear, with a strong atmosphere of hypocrisy, pretentiousness, exaggeration and hollowness  .", January 2018 (No.106))
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Extended Reading
  • Brittany 2022-03-16 09:01:07

    'One day, a happy day, you will come together like the light of a candle to brighten my life. From then on, you will lose peace and rippling like a river of unreasonable love like a mysterious and unpredictable world. The pulsation of and makes me feel bitter and joy blended in it.'LA.TRAVIATA-how timely and appropriate it appears!

  • Nels 2022-04-19 09:02:44

    In the stage play, the huge oil painting is the symbol of desire and the control of power. The gorgeous costumes are wrapped with the emotion of emptiness and loneliness and the emotion of money transaction. It is a corner to seek comfort for emptiness in a closed room. In this film, Fassbender completely controls the performers. The positional relationship and scheduling of the three in the closed room fully express the psychological host-guest relationship between the three. The existence of servants is more like the other side of Bertina's spirit. Release and take away the symbolic doll, leaving the crazy side imprisoned in the dark room. The servant is a symbol of the other side, and the subtle expressions echo the progress of the plot. After 65 minutes and 35 seconds, the close-up shot of the servant is grained after Bertina and Karin confirmed their relationship, and the composition is divided when Bertina and Karin are separated. Bertina knelt down and prayed in front of the painting. (see photo album)

The Bitter Tears of Petra von Kant quotes

  • Petra von Kant: You're with someone in a car or in a room and you want to say something, but you're afraid. Or you'd like to be affectionate but again you're afraid. You're afraid of losing points, of being the weaker one. It's a terrible moment when you can no longer go back and start again.

  • Petra von Kant: I've had such awful dreams.

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