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The Best Werner Schroeter Directed Movies

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poster

63

32

6.3

/1313/

65

/34/

61

/33/

3.6

/4698/

58

/2/

An unusual story of a triangular relationship in Vienna. A woman shares an apartment with a man named Malina. The woman meets Ivan and falls under his spell. It will be her last great passion. Her feelings are so strong and all-encompassing that Ivan can neither understand nor return them.

poster

59

22

6.4

/334/

53

/6/

64

/19/

3.7

/1069/

50

/15/

A mentally unstable woman and her son move to a sprawling mansion in Portugal to grow roses.

poster

61

21

6.4

/441/

41

/9/

63

/19/

3.7

/940/

A series of tableaux illustrating the life and death of a celebrated 19th century German opera singer.

poster

62

12

6.0

/330/

73

/3/

47

/11/

3.5

/612/

After reading a postcard that her mother let go in the wind, a woman learns that she has a twin.

poster

50

12

6.4

/190/

10

/1/

55

/6/

3.6

/788/

Living together in an isolated house, three women go to murderous lengths to keep strangers out of their private retreat.

poster

59

11

6.0

/312/

51

/6/

55

/12/

3.5

/470/

A woman experiences psychic disintegration and ends up in a psychiatric hospital.

poster

60

9

6.7

/295/

50

/6/

54

/12/

3.5

/287/

An impoverished young man from Sicily travels to Wolfsburg, West Germany to find work. He takes a job in the Volkswagen factory after he travels through Northern Italy by train.

poster

54

9

5.6

/361/

50

/3/

60

/17/

50

/1/

Werner Schroeter directed this dark and surreal tale of a man determined to save a lost lover from a grim fate at the hands of a violent mob. The city of Santa Maria is falling into chaos as an armed military faction is poised to take power in a coup d'etat. Ossorio used to call Santa Maria home, and he has returned in its darkest hour to find the woman he loves, hoping to rescue her from the violence that is lurks around the corner. As Ossorio searches for his love, he meets Victoria in a shabby hotel, who in turn introduces him to her father Barcala, who for the right price is willing to take Ossorio and another passenger away on his boat. While Ossorio is willing to pay Barcala what he wants, can he find the mysterious woman before the ship sets sail?

?

10

/1/

Short film directed by Rosa von Praunheim and Werner Schroeter. Considered lost.

poster

?

7.6

/92/

20

/1/

67

/3/

German director Werner Schroeter invited his favourite opera singers to a 13th century abbey near Paris. There was no pre-planned action. There was no script, no continuity. On the other hand, there were precise constraints that provided the rules of the game: the setting, the Abbey of Royaumont, and the chosen participants. Each singer came accompanied by a person of his or her choice, and worked on an aria chosen by the director.

poster

?

6.8

/40/

20

/1/

63

/3/

Werner Schroeter's lovely and touching portrait of the great German actress Marianne Hoppe, whose career spanned from the glory days of the Weimar era through the Nazi years to a postwar return to the stage in Shakespeare, Tennessee Williams, and experimental productions by Robert Wilson and Heiner Müller.

poster

?

7.8

/13/

10

/1/

One of the most caustic and personal essay films ever made, Werner Schroeter's account of the 1983 Manila Film Festival, presided over by Imelda Marcos, chronicles the legacy of American and Spanish imperialism as it presents a "kaleidoscope of a ravaged country."

poster

?

6.2

/16/

10

/1/

60

/1/

Two women, one from Boston and one from Germany, flee their empty lives to seek fulfillment in Mexico. The Black Angel is a transitional film; on one hand, it is a companion piece to Willow Springs, featuring two Schroeter regulars as characters far from home and in extremis; on the other hand, it is a film essay about Mexico and as such a harbinger of Schroeter’s nonfiction work to come. While he clearly shares his characters’ fascination with Mexico, the filmmaker also savages touristic exoticism – the otherworldly appearances of his protagonists and their rapturous reactions to new surroundings contrast sharply with the sober perceptions of Mexican history and economics featured in the documentary segments and in the prosaic presence of a non-professional cast of locals. - Harvard Film Archive

poster

?

6.2

/27/

10

/1/

10

/2/

One of Werner Schroeter's most important and inventive works, this threadbare evocation of Jean Genet's notorious Querelle depicts the erotic adventures of two sailors through the world's seaports in the manner of a cut-rate silent movie.

?

10

/1/

20

/1/

N/A

poster

55

?

6.3

/78/

30

/2/

58

/7/

3.5

/212/

Schroeter’s film is a chronicle of Germany from the Nazi era until the economic boom of the 1950s and 1960s, centering on three women who search for a career as singers and dancers.

poster

?

7.4

/14/

With the ascetic grandeur of Carl Th. Dreyer’s The Passion of Joan of Arc, Schroeter evokes the visions of Saint Joan, partly through unused footage of Darling and Caven pantomiming in his 1972 film The Death of Maria Malibran. - MoMA

poster

?

5.7

/36/

10

/1/

50

/3/

Aggression, Schroeter’s first 16mm film, is the fictive portrait of a woman who is oppressed by her (unseen) boyfriend.

poster

?

7.6

/5/

10

/1/

Carla is a different form of homage, in which Carla Aulaulu sings a song by Gitta Linds.

poster

?

6.4

/50/

53

/3/

64

/5/

In a dark and spare theatrical space, four characters use gesture, language, and movement to explore themes of desire and mortality.

poster

?

7.1

/11/

10

/1/

In the first part of this short film, Schroeter tries to visualize the artist as Lucia in the mad scene of the third act of the Donizetti opera. Schroeter uses four scene photos of Callas, isolated on a dark background, in gestures and facial expressions, highlights of the mad scene and cuts them one after the other in such a way that the impression of movement - of walking - arises. This anticipated movement becomes an ornament as the photos are dragged from right to left. The unnatural effect could be an accurate expression of madness. In the second part of the film, Schroeter uses three more shots of the singer: a private photo of Callas as Norma and a picture in a magazine that probably shows her in an exuberant pose as Medea (Cherubini) and nicknamed her “the tigress” in the press. The film has such a musical rhythm in its editing technique that the sound could be dispensed with.

poster

?

8.7

/11/

10

/1/

"My camera was silent, and so I started to compose wild sound collages for my films from my records with the help of tape, for example with my favorite Callas arias. I even got her to sing with herself that way. I also contrasted Schlager scraps of the Caterina Valente, whom I adore, and Christmas carols with the pictures. I cannot interpret what began then. I am an artist, I work intuitively." - Werner Schroeter

poster

?

7.4

/9/

10

/1/

La morte d’Isotta is a passionate melodrama inspired by Richard Wagner and Comte de Lautréamont, with Schroeter appearing in a principal role.

poster

?

10

/1/

One of Schroeter’s first experiments in choreography, as he stages actors in an empty room.

poster

?

45

/2/

"Of all the female interpreters I know, Maria Callas was the one who, in her expressive power, could let time stand so long until all fear disappeared, including that of death itself, and reached a state similar to what should be called happiness has been. Just as a blind person develops his sense of hearing and touch better than a sighted person, Maria Callas was proof that one could work out of oneself without following stupid rules in a restricted system - she was too short-sighted to ever take the baton from the stage to be able to see the conductor - can turn weaknesses into one's own creativity without looking." - Werner Schroeter

poster

?

6.1

/13/

28

/6/

70

/2/

Fusing Shakespeare‘s tragedy with the Verdi opera, Schroeter's Macbeth is a fascinating television experiment shot entirely in a studio with several electronic cameras. As Schroeter would recall, "I arranged the Verdi music for a quartet of violin, accordion, piano and oboe, but modeled the rhythms on Argentinian tangos and boleros. The actors sang with horrifying, shrill voices.... The use of video allowed me to produce extraordinary colors.... Of all my films, Macbeth was most unwelcome: Audiences don’t like their Shakespeare to be presented in this way, but I do not differentiate between kitsch and culture...". - MoMA

poster

?

6.9

/9/

10

/1/

20

/2/

A love triangle, accompanied by traditional German Christmas songs.

poster

?

6.5

/53/

10

/1/

Oskar Panizza’s The Council of Love (1895) is a blasphemous play set in 1495, during the first recorded outbreak of syphilis, which Panizza satirically presents as the punishment from Satan for sexually active humans. As a result, Panizza was imprisoned for obscenity. Schroeter alternates scenes from the Panizza’s work with a dramatization of his trial, presenting the play as an expressionist spectacle performed by actors wearing exaggerated makeup who gesture and grimace grotesquely. The film thus forms a bridge between Schroeter’s use of tableaux in his early experiments with the political urgency of his 1980s films. On the eve of the AIDS crisis, Schroeter is presciently worried about disease as an excuse for governmental repression and the oppression of sexuality. - Harvard Film Archive

poster

?

7.4

/15/

10

/1/

Documentary on State terrorism during the last military dictatorship in Argentina, made in its aftermath. Invited by the Goethe-Institut to hold a workshop with young film students, Schroeter contrasts the official statements of the regime with the testimony of victims, dissidents and relatives of the disappeared. And trust that their faces and words will resonate much more than a mere representation of violence.

poster

?

7.1

/37/

10

/1/

20

/2/

Schroeter's virtuosic staging of the Oscar Wilde tragedy is a complex montage of image and sound, filmed on the grand steps of Baalbeck, the ancient Roman temple in Lebanon, and interweaving Lebanese and German folk songs with the music of Verdi, Wagner, Strauss, Mozart, Bellini, and Donizetti. Elfi Mikesch, the cinematographer of Schroeter’s later films, designed the film’s sumptuous costumes. A contemporary critic for Le Monde wrote admiringly of Schroeter’s depiction of "the deadly struggle between dark Christian morality and luminous paganism.“

poster

68

?

6.3

/152/

70

/1/

72

/6/

3.5

/208/

Thirty years of Neapolitan history (from 1942 to 1972) through the ups and downs of the Cavioli and Pagano families.

poster

?

7.3

/32/

5

/2/

63

/3/

An exhilarating, essayistic documentary about the 1980 festival of experimental theatre in the French city of Nancy. Werner Schroeter's favourite of his own films.

poster

?

6.6

/61/

30

/2/

90

/1/

Werner Schroeter's stunning split-screen short deals with what the director called "archaic, fundamental themes" of love and mourning.

poster

?

6.1

/58/

43

/3/

50

/3/

Animated stills of Maria Callas and overlaid with a soundtrack of her singing.

poster

62

?

6.6

/137/

48

/5/

64

/7/

3.6

/205/

Collage of dramatic scenes, some exaggerated to comic effect, with asynchronous sound from well known classic, operatic, and rock and roll music – with different approaches to love, suffering, and death.

poster

?

7.0

/57/

90

/5/

Werner Schroeter's rhapsody of excess leaps from 1949 Cuba to contemporary France to points in between, while its feverishly shifting visual style evokes and parodies everything from kitschy Mexican telenovelas to silent French art films.

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N/A

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poster

?

Meetings in Lisbon...

?

Schroeter casts his tutored eye on Mnouchkine, the legendary founder of the avant-garde Théâtre du Soleil, with whom he shared an affinity for collage and pastiche, improvisation and distillation, ancient Greek drama, commedia dell’arte, opera, and Asian traditions of theater and dance. In this fascinating study of the creative process, Mnouchkine is seen directing her company in a revival of 1789, her defining political work, along with her 1977 film Molière and the theatrical premiere of Hélène Cixous’s The Horrific and as Yet Unfinished Story of Norodom Sihanouk, King of Cambodia. - MoMA

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