‘Peter von Kant’: bitter tears against the desire for dark beauty

In “The Bitter Tears of Petra von Kant”, one of the most acclaimed films by the unfortunate German director Rainer Werner Fassbinderthe protagonist, a ruthless designer played by Margit Carstensen, said: “You are with someone in the car or in a room and you want to say something, but you are afraid. Or you would like to be friendly but again you are afraid. You are afraid of losing points, of being the weakest link. It’s a terrible time when you can’t go back and start over. “.

If there is a director who could delve into the life and work of Fassbinder, one of the main figures of the New German cinema, it is François Ozon. An admirer of his films and his style, for the French director he was not only one of his main references as a director; but also dared to bring one of Fassbinder’s most unknown works to the big screen, ‘Drops of water on hot stones’one of his most acclaimed titles and one of the most daring of his vast filmography.

For Ozon, “Petra von Kant’s Bitter Tears” were a sublimation or metaphor of the complicated and tormented love stories that Fassbinder himself lived. For this, he believes that the protagonist was a clear reflection of the director and this is what ‘Peter von Kant’, which was the opening film of the last 72nd edition of the Berlin Film Festival, the most appropriate place for his debut. Of course, this version is not only up to the task, but He knows how to explore the complex psyche of an author in love with his work, a constant leitmotif in Fassbinder’s life and work.

Ozon displays masterful control of claustrophobic scenarios

In this version, the famous stylist becomes an acclaimed internationally renowned director, and the mermaid who ends up devouring her dominant lover becomes a beautiful dark wannabe actor, for whom Ozon was inspired by Fassbinder’s troubled relationship with Moroccan actor El Hedi ben Salem, who committed suicide in 1977, a few years after the breakup.

But What distinguishes ‘Peter von Kant’ is the way in which Ozon knows how to create claustrophobic atmospheres and his masterful control of theatrical settings. Furthermore, it would seem that his most acclaimed films had this aura, such as the aforementioned ‘Drops of water on hot stones’, ‘8 women’ or ‘In the house’. Given the Fassbinderian spirit of him, Ozon configures a perverse universe, of emotional sadomasochism, in which he exposes the disturbing relationship between the artist and his inspiring muse and on the fine line between love and domination and emotional dependence.

It is true that these elements were already in the original work, but Ozon updates them and, moreover, it takes them to a completely different terrain, which is the male universe. Here the frailties of man and his ego are exposedto this is added a perverse game of sadism and masochism, it is fascinating how the director captures the confidence and temperament of an artist collapses in front of the most elementary passions and how these are what make him a prisoner of a young man who ends up becoming a dark beautyas if his youth were a kind of Rusalka or Ondina that ends up capturing the darker side of the human psyche.

Splendid Denis Menochet. Khalil Ben Gharbia is a real find

That empowered dominant and submissive domination game wouldn’t have happened without a main cast. Here Denis Ménochet shines above allthe actor of “Shared Custody” and “As bestas” could not be a better choice to get into the skin of the unfortunate director. The interpreter perfectly conveys the director’s insecurities, masked by attacks of division and how those fragilities lead him to lose control. Beside him, a charming Khalil Ben Gharbianovice who knows how to have the spirit of a naive boy and how that facade ends up revealing his power of dark beauty, could very well be a contemporary Querelle.

This splendid leading duo is joined by a wonderful trio of actresses. Isabelle Adjani brings the spirit of Marlene Dietrichthe actress who could never play for Fassbinder, with a magnificent performance, in which on the other hand, it represents Ozon’s affinity with the figure of the “leading actress”. Alongside her, Hanna Schygulla, the inspirational muse of the original Fassbinderwho goes from being the young femme fatale of the original tape to the understanding mother who opens her eyes to her son. Mention also for Aminthe Audiard, nephew of the famous Jacques Audiard, in one of his first interpretative challenges. Also cheers for Stefan Crepon, who becomes the protagonist’s slave department and this is the most graphic representation of masochism.

“Peter von Kant” is a tribute to Fassbinder’s height and what he meant. Ozon once again demonstrates his fascination with a unique way of storytelling and this elevates his twenty-first feature film as one of the best in his vast filmography. With the actors in a state of grace and a setting as claustrophobic as the plot itself, all that remains is to let yourself be carried away by this disturbing whirlwind of emotions.

Note: 9

The best: The perfect description of emotional sadomasochism and how spoiled bonds are created between artist and muse.

Worse: It is faithful to the Fassbinderian spirit, even if it means sacrificing the contemporary aspect, which will make it dislike a certain sector of the public today.