“Wenders has had monumental influence on cinema. The time is right for a celebration of his work.”
ADAM LEHRER, FORBES
Recipient of an Honorary Golden Bear for lifetime achievement at this year’s Berlin International Film Festival, the German filmmaker Wim Wenders (b. Düsseldorf, 1945) has had a long and distinguished career spanning the five decades from his earliest 16mm experimental shorts of the late 1960s to his recent award-winning arts documentaries such as Pina (2011) and The Salt of the Earth (2014).
Wenders first came to wide attention in the 1970s as the director of a series of existential road movies exploring modern-day alienation, spiritual confusion, loneliness and dislocation, the Americanization of Europe, the expressive possibilities of landscape, the glories of pop and rock music, and the primacy of the cinema. Including The Goalie’s Anxiety at the Penalty Kick (1971), Alice in the Cities (1974), and Kings of the Road (1976), these haunting, highly-assured films — along with The American Friend (1977), a brilliant adaptation of Patricia Highsmith — established Wenders as a filmmaker of international prominence. Wenders’s work, in turn, helped establish das neue Kino, the New German Cinema — that brave new wave of Wenders, Fassbinder, Herzog, Kluge, Schlöndorff, von Trotta, et al. — as arguably the most significant national cinema of the 1970s . With the 1980s art-house hits Paris, Texas (1984) and Wings of Desire (1987), Wenders’s international popularity reached a zenith.
Running from October through December, this major retrospective of Wenders’s cinema (the first presented in Vancouver in more than two decades) includes new digital restorations of many of his key fiction and nonfiction films; rare screenings of his early experimental short works, and of The Left-Handed Woman (1978), produced by Wenders and directed by his frequent collaborator Peter Handke; and (coming in December) the Vancouver premiere of the full-length, five-hour Director’s Cut of Wenders’s monumental science-fiction feature Until the End of the World (1991).
Acknowledgements: Janus Films (New York); Brian Belovarac, Janus Films
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Program Note: Wrong Move (1975), previously announced as part of our Wim Wenders retrospective, will not be available for our Vancouver presentation. A restoration is pending.