Wim Wenders
72 connections found
Filmography
Until the End of the World 1991 
Paris, Texas 1984 
Perfect Days 2023 
Pina 2011 
Buena Vista Social Club 1999 
Anselm 2023 
Tokyo-Ga 1985 
The American Friend 1977 
Kings of the Road 1976 
Wings of Desire 1987 
Land of Plenty 2004 
Submergence 2017 
Wrong Move 1975 
Alice in the Cities 1974 
The State of Things 1982 
Hammett 1982 
Every Thing Will Be Fine 2015 
Don't Come Knocking 2005 
The End of Violence 1997 View:
Connections, in both directions
Influenced by the American western as much as anything, German filmmaker Wim Wenders sets out to remake the mythic vision of John Fords The Searchers (1956) as a different kind of family story, reflecting the reality the director found when he set out to see what has become of the American West for himself.
Indeed, the narrative shares something in common with Ford’s 1956 film “The Searchers,” about a cowboy (John Wayne) on a journey to rescue his niece from an Indian tribe.
In this sense, Travis is an intriguing reformulation of the classic Western hero, an essential loner who is crucial to saving a community of which he can never be a part (not surprisingly, some critics have seen shades of John Wayne’s character from The Searchers in Travis).
In his Palm D�Or winning drama Paris, Texas, director Wim Wenders explores, and largely debunks, the macho cowboy myth that powers great Westerns like The Searchers while updating it to a contemporary milieu.
You can find echoes of The Searchers in Travis’ odyssey, right down to his quest to reunite a splintered and separated family and the recognition that there’s no place for him in this family.
The film´s ending, which is often and aptly compared to "The Searchers," witnesses a genuine moving reunion between mother and son but also ends on a note of ambiguity.
He spends his days mooning over old movies on the TV ( Casablanca , Wings of Desire , His Girl Friday ) as Ellie helps pay the bills by ghost-writing essays for half the senior class.
When writing the letter, Ellie takes a shortcut by stealing a line from Wim Wenders’ “Wings of Desire”.
Wu finds ways to spin it positively, though, including a scene where Ellie goes to a classmate’s party and is greeted with the legitimately welcoming yell of “The Chinese girl came!” There’s no sense of artificiality here even as Wu peppers Ellie’s daily life with atypical pop culture references including movies (from Wings of Desire to His Girl Friday ), music (from artists like Gordon Lightfoot and Chicago), and even philosophers (from Camus to Plato).
Ellie, who is herself secretly attracted to Aster, reluctantly pens a message in which she lifts a line from Wim Wenders’s Wings of Desire .
For one of Paul’s texts, Ellie cribs a line about emotional yearning from Wings of Desire, the film she watches on TV with her dad.
It turns out that Aster is a misfit hipster in prom-queen clothing — your kids might say she’s an Extra disguised as a Basic — and can recognize a line of dialogue from the Wim Wenders classic “Wings of Desire” when it’s dropped into a love letter.
Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1976)
Directed by Chantal Akerman
influenced Perfect Days (2023)
Visuals Themes
The first hour of the film essentially boils down to sequencing that’s clearly inspired by Chantal Akerman’s film, Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles. While Hirayama has certainly held and excelled at this job for a while, he seems deeply content. And although it may beckon the viewer to wonder just how he ended up in the position he finds himself in, more likely than not, it doesn’t really matter.
This fascination with the most ordinary daily rituals inevitably recalls Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles.
The Adjustment Bureau (2011)
Directed by George Nolfi
influenced by Wings of Desire (1987)
Visuals Characters Plot
Wearing trench-coats and ’50s-era fedoras, they move amongst us much like the angels in Wim Wenders’ Wings of Desire (1987), but with the goal of “nudging” or “adjusting” us from time to time to make sure that we are on the right track (sometimes this involves causing a spilled cup of coffee, other times it involves literally freezing time and altering people’s minds).
The Agents overtly resemble the angelic protagonists of Wings of Desire — as well as the Agents of The Matrix; are they angels, and, if so, how benevolent are they?
Antecedents for The Adjustment Bureau can be found in Michael Powell and Emeric Pressburger’s near-career best romantic fantasy, A Matter of Life and Death (a.k.a., Stairway to Heaven), released sixty-five years, and Wim Wenders’ 1986 post-modern angels-in-Berlin fantasy, Wings of Desire.
There are echoes of “Wings of Desire,” “Dark City,” and “The Matrix” in “The Adjustment Bureau,” which is dangerous for a debuting director.
They get assigned odd menial tasks on Earth, like wandering around listening to the thoughts of people with whom they can never interact (Wings of Desire), keeping suicidal drunks from offing themselves (It's a Wonderful Life), and trying to get notoriously fickle humans to fall (and stay) in love (A Life Less Ordinary).
We actually much prefer the beneficent and compassionate angels in Wings of Desire or the playful ones in Michael to the overbearing presences in this film.
It’s a film of moments, observations and moods, with a lyrical unfolding that recalls such atmospheric monochrome road movies as Wim Wenders ’ "Kings of the Road."
It isn’t clear where we are exactly, but the landscape is reminiscent of Monument Valley in John Wayne’s Stagecoach and The Searchers .
The only time I can recall anything similar might be the minimalist music to go along with Murder by Contract (1958).
Guadagnino and cinematographer Arseni Khachaturan transport the viewer into the setting with images that never make direct references but invite comparisons to films such as Wim Wenders’ Paris, Texas (1984) or Donna Deitch’s Desert Hearts (1985)—titles in which love doesn’t come easy, and the gorgeously sprawling landscapes underscore the characters’ alienation and psychological scars.
Paprika's story line combines elements of Blade Runner and Wim Wenders' strange apocalyptic fantasy Until the End of the World, both of which imagined the damage that could be wrought by a machine that invades human memories and dreams.
Some of that influence hails from the costume designer's obvious nod to Wenders's "Wings Of Desire" (1987).
Previously he had explored the more closed-in spaces of Europe in the German language films "Alice in the Cities" (1974) and "Kings of the Road" (1976) but with "Paris, Texas" (1984) he turned his gaze (and Robbie Müller´s) to the wide-open highways and byways of America which fascinated so many European directors (Wenders´ New German Cinema compatriot Werner Herzog took a similar turn in 1977´s "Stroszek.")
This artificiality can perhaps be attributed to German-born Wim Wenders’ perception of the American Midwest (a perception also evident in Werner Herzog’s Stroszek and Michelangelo Antonioni’s Zabriskie Point).
(It's a look at Americans as kind-eyed aliens that serves as an almost unbearably piquant counterpart to New German Cinema-mate Wim Wenders' Paris, Texas.)
A decade earlier, Peter Bogdanovich had paid tribute to the great Western directors in The Last Picture Show by coupling the horizontal grandeur of their black and white shots with the straitening reality of small-town Texas life.
Paris, Texas evokes the iconic forms of American cinema, from films noir like Detour and Vertigo to grandiose Westerns like The Searchers and Lonely Are the Brave , at the same time as it calls forth a new wave of postmodern filmmaking from slacker movies to the surrealism of David Lynch and Blue Velvet .
In his role as his sister's guardian angel (à la Wings of Desire and Les Enfants Terribles), Oscar revisits scenes from their childhood — it's complicated and troubled — as well as from her stressful adult life.
They are abandoned angels, waiting on the will of implacable divine forces, tending in limited ways to humanity – so, basically, it’s Wings of Desire with more punching.
Los “Eternals” son, en esencia, los ángeles de Wim Wenders en Wings of Desire , y en esta analogía, la “Sersi” de Chan es simétrica al “Damiel” del gran Bruno Ganz, observando a la humanidad desde la distancia, deseosa de pertenecer ella, pero incapaz de serlo.
Under the Skin (2014)
Directed by Jonathan Glazer
influenced by Wings of Desire (1987)
Visuals Themes
She ditches the fur coat (another skin), revealing the more friendly pink sweater underneath, and the effect is transformative, like the picture switching to color when Bruno Ganz falls to earth in Wings of Desire.
The film starts out like a sort of anti- Wings of Desire .
“I like to think you killed a man, it's the romantic in me,” Captain Renault says to Rick Blaine in “Casablanca,” speculating as to what Rick has been running away from.
Tokyo is captured as a pristine metropolis, with focus on the constantly utilized network of roadways (reminiscent of sequences utilized in Tarkovsky’s Solaris, 1972).
It's a scene that rivals Bob Hoskins' performance at the end of The Long Good Friday, albeit creating vastly different tones.
And like German director Wim Wenders ("Paris, Texas," "Alice in the Cities"), whose un-Americanness allowed him to see the country, and road genre, in a fresh way, Arnold's outsider status enables her to present America in ways we may overlook.