Search: Starring Hanna Schygulla

There can be little question that it is a masterpiece.

As with most of Fassbinder's work it is very much an acquired taste, requiring that one accept the notion of film as something more than just entertainment, as a tool to make one think.

Lengthy and charmless.

Akin’s screenplay is intricate and original, and his story is ultimately an affirmation of the strength of personal bonds over the political.

François Ozon makes what could have been an impossibly painful subject more palatable but nonetheless affecting.

The bold black and white cinematography looks stunning and enhances the mood of the film.

While hard going, the film grows on you.

The film is an intelligent, technically proficient and complex critique of this period, weaving metaphors for the German body politic and psyche of the time.

A heartbreaking depiction of a man driven over the edge by an uncaring society.

But while visually striking at times, narratively the film often plods along and the revolutionary rants tend to get repetitive.

Godard breaks down the barrier between documentary and fiction.

Martyrdom and bad wishing, casual cruelty and sweet despair reign in this realm.

Lanthimos skillfully transforms this lustful carnival into a coming-of-age drama, emphasising the protagonist's mastery of sexuality as a connotation of her mental evolution.

Here cosmos and chaos, action and reaction, hope and despair, love and anger, all bump and grind together in a Satanic tango.