Not exact matches
As much as they claim to be victimised for public breastfeeding, FFing parents are
frequently compared to child abusers, told that they are feeding their babies poison, that they don't deserve to have children and shown sensationalist «infographics»
like the ones a few posts back which stated that formula fed babies are x times more likely to
die within the first year of life without even accounting for the numerous confounding factors that would cause those numbers to be elevated in the first place.
This one doesn't end 18 times (
like Return of the King), there aren't a lot of fancy monologues, and I didn't feel manipulated by the music when people
died (which happens
frequently).
A 21 - minute «Special Report» that attempts to evoke what news coverage of a crisis
like this would be
like in the real world is equally fun and cheesy but also
frequently enlightening, especially when the President of the United States gives a radio address to the people in his country left behind to
die while he and his cabinet head to a top secret bunker.
Paintings and prints
frequently carry particular meaning within Petzold's films, as examples of the ancient tradition of ekphrasis, probably none more so than in Phoenix's immediate predecessor Barbara (2012) with its conspicuous Rembrandt print, but likewise in much earlier works
like Die Beischlafdiebin (The Sex Thief, 1998) with a Gerard Richter on the wall — another artist conspicuously engaged with multiple forms of peculiarly German afterness.4
This theatrical bent to the dialogue (to the point that it feels
like Bailey, for example,
frequently pauses to allow the laughter of an imagined audience to
die down) is merciless, and so clearly en - un-ci-at-ed that it's a little
like being trapped in an ongoing elocution lesson.