EIGHT HOURS DON'T MAKE A DAY
ACHT STUNDEN SIND KEIN TAG
1972, Janus Films, 478 min, West Germany, Dir: Rainer Werner Fassbinder

Commissioned to make a working-class family drama, up-and-coming director Rainer Werner Fassbinder took the assignment and ran, upending expectations by depicting social realities in West Germany from a critical - yet far from cynical - perspective. Over the course of several hours, the sprawling story tracks the everyday triumphs and travails of the young toolmaker Jochen (Gottfried John) and many of the people populating his world, including the woman he loves (Hanna Schygulla), his eccentric nuclear family, and his fellow workers, with whom he bands together to improve conditions on the factory floor. Rarely screened since its popular but controversial initial broadcast, EIGHT HOURS DON'T MAKE A DAY rates as a true discovery, one of Fassbinder’s earliest and most tender experiments with the possibilities of melodrama.


LIEBELEI
1933, Rialto Pictures, 68 min, Germany, Dir: Max Ophuls

Set in turn-of-the-century Austria, this exquisite film starts out following an innocent love affair and takes a tragic turn. Based on Arthur Schnitzler’s play, LIEBELEI represents both Max Ophuls’ biggest triumph and his last film before the rise of the Nazis.


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