Rainer Werner Fassbinder approached film viewing the same way he approached filmmaking, and indeed life itself: with passion. A committed cineaste in a time before DVDs, Internet streaming, or even the easy availability of videotape, Fassbinder was attracted to both excess and naïveté, artifice and heartfelt emotion, and to whatever could capture the beauty and madness of life itself. “Sirk has said that film is blood, tears, violence, hate, death, and love,” wrote Fassbinder of one of his most adored directors, Douglas Sirk. “Sirk has said you can't make films about things, you can only make films with things, with people, with light, with flowers, with mirrors, with blood, in fact with all the fantastic things that make life worth living.”
This sidebar to our Fassbinder retrospective is merely a taste of the director's favorites, crammed full of all the fantastic things that make life worth living, ranging from the Hollywood melodramas and genre films that he adored to French masterpieces from Jean-Luc Godard and Robert Bresson. Another of Fassbinder's top films of all time, Pier Paolo Pasolini's Salò, or the 120 Days of Sodom, screens in our Pasolini series on October 31.