Monday, 3 March 2008


Wim Wenders

Paris, Texas is probably Wim Wenders' most well known, critically
acclaimed, and successful movie, winning a number of international prizes
including the Cannes Palme D'Or for Best Film in 1984.

This unusual road movie, with screenplay by acclaimed playwright Sam
Shepard, tells the tale of Travis, a man lost in his own private hell.
Presumed dead for four years, he reappears from the desert on the Mexico
border, world-weary and an amnesiac.
He traces his brother Walt who is bringing up Hunter, his seven-year-old
son, his ex-wife Jane having abandoned him at Walt's door several years

As virtual strangers, Hunter and Travis begin to build a wary friendship
and conspire to find Jane and bring her back to be a real family.

Written and signed by two dozen German filmmakers pledging themselves to
"the new German feature film," the 1962 Oberhausen Manifesto boldly
announced the arrival of New German Cinema, with young, innovative, and
politically radical directors taking up arms against the propriety of West
German society and its failing film industry. In the late sixties and
early seventies, filmmakers such as Rainer Werner Fassbinder, Margarethe
von Trotta, Volker Schlöndorff, Wim Wenders, Werner Herzog, Alexander
Kluge, and Hans-Jürgen Syberberg set out to create smaller, more
independent and artistically challenging films to investigate the state of
contemporary Germany (Schlöndorff and von Trotta’s The Lost Honor of
Katherine Blum), as well as to grapple with the ghosts of the past, from
the Weimar era (Fassbinder’s Berlin Alexanderplatz) and the Nazis
(Schlöndorff’s The Tin Drum) to their aftermath (Fassbinder’s “BRD
Trilogy”). Like other countries’ new waves, New German Cinema, which ended
in the mid-eighties, embraced politically akin but artistically disparate
directors with diverse interests, working methods, and spheres of
influence, from the avant-garde (Kluge’s Artists Under the Big Top:
Perplexed) to major international productions (Fassbinder’s Querelle).

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