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FAQ: Auditorium ProgramsOpera, theater, and film director Werner Schroeter (1945–2010) resists easy classification. Linked with the new German cinema—the rebellious group of directors who hoped to revitalize postwar film culture—Schroeter's edgy romanticism and fondness for high camp kept him on the margins. He worked with an extraordinary range of actors (Isabelle Huppert, Bulle Ogier, Carole Bouquet, and Magdalena Montezuma, his muse.) "What Schroeter does with a face, a cheekbone, lips, the expression of the eyes. . . is a multiplying and burgeoning of the body, an exultation"—Michel Foucault. These two early features reveal a deep affection for the south of Italy—Schroeter had once been a student in Naples and knew the region's lore. With thanks to the Munich Film Museum and the Goethe-Institut in Washington.
Young Nicola leaves his home in Sicily to seek a fortune in the industrial north, finding employment at a Volkswagen plant in Wolfsburg, Germany, "a land without light, without sun, without song." Humiliation and isolation eventually drive him to settle some scores in this far-off and stressful place, culminating in the film's surreal final act. One of the best of the New German Cinema films to depict complex cultural differences through tales of the guest worker (Gastarbeiter), Palermo oder Wolfsburg was awarded the Golden Bear at the Berlinale. "The Passion of the Sicilian migrant in the holy land of capitalism"—Olaf Moller. (Werner Schroeter, 1980, DigiBeta, Italian and German with subtitles, 175 minutes)
Introduction by Roy Grundman
Schroeter took to the streets of Naples to make this unusual chronicle of a poor family, tracing the lives of brother and sister Massimo and Vittoria from the 1940s through the 1970s, while painting a broad context both political and cultural (even reenacting the historic 1964 departure of Michelangelo's Pietà from the port of Naples as it headed to New York for the World's Fair). "Impassioned, bemused, even at times hallucinatory . . . . Friends and acquaintances in Italy joined in the project, to such an extent that this could be called more an Italian film for Italians than a German one shot in Italy . . . "—Kevin Thomas. (Il Regno di Napoli, 1978, DigiBeta, Italian with subtitles, 125 minutes)
