Certainly, his latest film exhibits many of his most characteristic features:
an early static shot of a concert audience once again emphasises spectatorship as a primary concern; we meet, as so often, a bourgeois family about to experience severe suffering; Emmanuelle Riva follows Isabelle Huppert, Juliette Binoche and Naomi Watts in giving an extraordinary performance in response to psychological terror; and violence, with its attendant guilt, comes as a shocking intrusion into this world.
Not exact matches
Barely updated from a relatively
early Warner Blu - ray, the main disc here begins playback of the film right away and doesn't so much feature a traditional menu as a screen - sized list of bonus features (placed in front of a
static Pacino
shot) that pops up after the film is completed.
Whereas the
earlier films, mostly
shot by Dietrich Lohmann, often framed the groups or members of the group in
static tableaux in order to highlight their solidarity and opposition to a lone outsider, this film (Fassbinder's ultimate collaboration with Michael Ballhaus) uses an almost constantly moving camera and a remarkable succession of framing and fracturing devices within the camera frame to underscore the shifting alliances, individual isolation, and internal struggles of the characters.