As Lágrimas Amargas de Petra von Kant
Realização:
Rainer Werner FassbinderCâmara:
Michael BallhausElenco:
Margit Carstensen, Hanna Schygulla, Katrin Schaake, Eva Mattes, Gisela Fackeldey, Irm HermannStreaming (1)
Conteúdos(1)
Um exercício brilhante sobre a dinâmica do poder e da submissão nas relações e uma das tentativas mais bem sucedidas de Fassbinder de apresentar uma peça de teatro, também da sua autoria, no cinema. A história gira em torno de Petra von Kant (Margit Carstensen), uma estilista bem sucedida que vive fechada no seu apartamento com a sua assistente Marlene (Irm Hermann). Entre as suas criações e as suas memórias, Petra vive isolada no seu mundo. Karin Thimm (Hanna Schygulla) é o elemento que falta para a relação claustrofóbica que se vai desenvolver entre as três mulheres. Karin é apresentada por uma amiga a Petra, que se deixa imediatamente fascinar por ela. As duas vão manter uma relação amorosa, que não vai durar muito tempo... (Leopardo Filmes)
(mais)Críticas (2)
It is not completely a bad idea that the film was made as an adaptation of a play. The golden era of theater and tragedy, baroque and classicism, as if they spoke to us from the screen differently than through a baroque painting on the wall. Similarly, we can also find the protagonist of these bygone times here - a nobleman, or rather a noblewoman (Petra is from the von Kant family). Her behavior is thus a reproduction of the actions of these people: wealth and idleness (although verbally it is the opposite), arbitrary and also patrimonial, hence a personal relationship with the servants, detachment from her own children (boarding school), but also depth and tragic grandeur towards those she loves. Her demand for an equal amount of affection cannot be fulfilled by the worker Karin, who cannot give everything in their relationship because equality is necessary in a two-way relationship. In that, the main character is sincerely pitiful - as an aristocrat, she is able to give everything (and we should believe that in the film), but only if she wants to. The mirror of this relationship is the maid, Marlene, who carries an ambiguous message in the end.
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No, I just didn't enjoy this. The movie felt too static to me, there was very little happening and the dialogues didn't interest me as much as I thought and wished they would. It was definitely a bold move to adapt theater into a film, but for me, this just doesn't work that well and I would rather watch something else, something shorter.
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