This is where the bitterness pinpoints the most. We are not achieving anything in life if we still live with what only favors our fantasies, and that is what I always tell others: accept the reality of who they are. I know it is hard, but eventually you learn to live with it. You cannot control what other people want or whatever their decisions are; it is not always about you. And if you continue to treat this world with nothing but peeve and irritation, you may never realize how deeply destructive you have become toward you and other people until one day it is already too late to realize that it is irreversible.

This is where the bitterness pinpoints the most. We are not achieving anything in life if we still live with what only favors our fantasies, and that is what I always tell others: accept the reality of who they are. I know it is hard, but eventually you learn to live with it. You cannot control what other people want or whatever their decisions are; it is not always about you. And if you continue to treat this world with nothing but peeve and irritation, you may never realize how deeply destructive you have become toward you and other people until one day it is already too late to realize that it is irreversible.

Do you wear wigs?

Do you wear wigs?

*1972 - 16/20
*“I think people are made to need each other, but they haven’t learned to live together.”

Was the nude painting in the background 90% of the film really necessary?

The Bitter Tears of Petra von Kant is one of the most in depth, riveting, powerful, raw, and emotionally devastating character study that I have ever seen.
The film has such a simple plot that continues to grow with new characters being added to the story. Each character serves as a new chapter, and keeps the film feeling fresh while the setting stays the same. Throughout the film you also find out more about Petra and how empty she truly is.
For me, the film really hit home the idea of how love can drive someone mad (for the worse), and how much a single person or experience can change you.
In the end, I found myself invested in these characters, and couldn’t help myself from studying my own life during this.

Lists:
**1972 Ranked**

*1972 - 16/20
*“I think people are made to need each other, but they haven’t learned to live together.”

Was the nude painting in the background 90% of the film really necessary?

The Bitter Tears of Petra von Kant is one of the most in depth, riveting, powerful, raw, and emotionally devastating character study that I have ever seen.
The film has such a simple plot that continues to grow with new characters being added to the story. Each character serves as a new chapter, and keeps the film feeling fresh while the setting stays the same. Throughout the film you also find out more about Petra and how empty she truly is.
For me, the film really hit home the idea of how love can drive someone mad (for the worse), and how much a single person or experience can change you.
In the end, I found myself invested in these characters, and couldn’t help myself from studying my own life during this.

Lists:
**1972 Ranked**

Fassbinder respects the spatial unity of Aristotelian theater, and little else, because the rest of the elements is a festival of psychosexual and social transgressions that, paying attention to the date, is a very early document of queerness and homosexuality!!!

The Bitter Tears of Petra von Kant tells us about the impossibility of understanding in personal relationships. To explain this theory, Fassbinder makes an iron script with climactic moments such as when he explains the difference between understanding and compassion, but the script in general is even better for being impregnated with Kantian philosophy.
That is to say, Petra von Kant starts out very sure of herself, proud of the experience she has had in life and the success she has achieved, yet she falls madly in love and suffers from her because she does not feel correspondence in that love. Here Immanuel Kant intervenes, Petra cannot really know her love, she gets an idea about her. With the passage of time that perception changes, Petra realizes that she cannot demand from the other person, that she has to feel love regardless of what the other person feels. Not everyone understands love in the same way and what Fassbinder criticizes is that personal and loving relationships are based on the power that one person exercises over the other, a winner and a loser.

Margit Carstensen brings a character that is intense and brutal, but surprisingly empathetic. She is not the best person in the world, it is obvious when you see how she treats that omnipresent, fantastic, angry, but helpful Marlene. However, in moments of collapse, it is difficult for the viewer's heart not to side with her and admit that, perhaps, there is a lot of suffering behind that mask of cynicism, appearances and luxury. In this sense, I love that Fassbinder has decided to go all the way with how to represent a woman, not on the verge of a nervous breakdown, but perfectly framed in a pathetic-nervous emotional state that makes her one of the best melodramatic characters. of the history of cinema.

I LOVED!! AND I WOULD LOVE TO SEE A THEATRICAL ADAPTATION!!

Watch this for god's sake, it's magnificent

Rainer Werner Fassbinder Ranked

Fassbinder respects the spatial unity of Aristotelian theater, and little else, because the rest of the elements is a festival of psychosexual and social transgressions that, paying attention to the date, is a very early document of queerness and homosexuality!!!

The Bitter Tears of Petra von Kant tells us about the impossibility of understanding in personal relationships. To explain this theory, Fassbinder makes an iron script with climactic moments such as when he explains the difference between understanding and compassion, but the script in general is even better for being impregnated with Kantian philosophy.
That is to say, Petra von Kant starts out very sure of herself, proud of the experience she has had in life and the success she has achieved, yet she falls madly in love and suffers from her because she does not feel correspondence in that love. Here Immanuel Kant intervenes, Petra cannot really know her love, she gets an idea about her. With the passage of time that perception changes, Petra realizes that she cannot demand from the other person, that she has to feel love regardless of what the other person feels. Not everyone understands love in the same way and what Fassbinder criticizes is that personal and loving relationships are based on the power that one person exercises over the other, a winner and a loser.

Margit Carstensen brings a character that is intense and brutal, but surprisingly empathetic. She is not the best person in the world, it is obvious when you see how she treats that omnipresent, fantastic, angry, but helpful Marlene. However, in moments of collapse, it is difficult for the viewer's heart not to side with her and admit that, perhaps, there is a lot of suffering behind that mask of cynicism, appearances and luxury. In this sense, I love that Fassbinder has decided to go all the way with how to represent a woman, not on the verge of a nervous breakdown, but perfectly framed in a pathetic-nervous emotional state that makes her one of the best melodramatic characters. of the history of cinema.

I LOVED!! AND I WOULD LOVE TO SEE A THEATRICAL ADAPTATION!!

Watch this for god's sake, it's magnificent

Rainer Werner Fassbinder Ranked

not my type of movie but the cinematography costumes and coloring was gorgeous it almost makes up for my lost time

I obviously how good it is but I just didn't enjoy very much I know it's important that this is a queer piece of media I just want my lesbians to be nicer

not my type of movie but the cinematography costumes and coloring was gorgeous it almost makes up for my lost time

I obviously how good it is but I just didn't enjoy very much I know it's important that this is a queer piece of media I just want my lesbians to be nicer