– You know, I take pictures, photographs, but I never really thought in black and white before I saw our rushes. Do you know what I mean? You can see the shape of things.   – Life is in colour, but black and white is more realistic.

A lot of #soccer there's not, in Wim Wenders' Die Angst des Tormanns beim Elfmeter. What we do have happens almost right at the start. After a foul, the titular goalkeeper Bloch (Arthur Brauss) is removed from the match. Frustrated he leaves and finds himself roaming the streets of #Vienna where he picks up boxoffice girl Gloria (Erika Pluhar). In the morning he kills her and travels to the countryside, waiting for the police to arrest him.

“Ich werde mich entschlossen verirren.”

– Peter Handke

Die Angst is an early, perfect example of Junger Deutscher Film (”New German Cinema”). Its cinematic thanks to Robby Müller's observant eye and Peter Handke's precise language, both describing scenes and performers as if observed through a fourth wall.

 

A very slow burning road movie, a Taxi Driver in reverse if you will, that doesn't suffer the neurotic showmanship of its Hollywood counterpart.

Two American families, adults and their children, go on a #HikingTrip somewhere in the south of France. They find themselves increasingly lost, not only in #nature but also in and among themselves.

 

Supposedly based on a real troublesome event and riddled with much filmmaking adversity, O Território nearly stranded as much as the hikers did. In support, #WimWenders used the same cast for his Der Stand der Dinge (1982), about a film crew's attempt to remake #RogerCorman's Day the World Ended (1955).

 

In a wonderful, unscripted circular way, Corman was one of the executive producers of Ruiz's film.