Yahoo Web Search

Search results

  1. Mar 6, 2015 · Margit Carstensen as the title character, a fashion designer, in Rainer Werner Fassbinder’s all-female “The Bitter Tears of Petra von Kant” (1972), now on disc. The Criterion Collection. By ...

  2. DEM 325,000. The Bitter Tears Of Petra Von Kant ( German: Die Bitteren Tränen Der Petra Von Kant) is a 1972 West German New Wave psychological romantic drama film written and directed by Rainer Werner Fassbinder, based on his own play. Featuring an all-female cast, the plot takes place entirely in the home of narcissistic protagonist Petra von ...

  3. May 20, 2021 · The Bitter Tears of Petra von Kant is a an avant-garde and boundary pushing masterpiece and a special feat, years after it was first released. Petra von Kant is one of the most achingly human, fragile characters this reviewer has ever encountered over years of watching films. She is the centrepiece of The Bitter Tears of Petra von Kant, a film ...

  4. People also ask

  5. Oct 5, 1972 · The Bitter Tears of Petra von Kant: Directed by Rainer Werner Fassbinder. With Margit Carstensen, Hanna Schygulla, Katrin Schaake, Eva Mattes. A troubled fashion designer strikes up a romance with a much younger woman.

    • (11K)
    • Drama, Romance
    • Rainer Werner Fassbinder
    • 1972-10-05
  6. Jul 15, 2021 · As is The Bitter Tears of Petra von Kant. For much of the film, characters are shrouded in dramatic lighting, which nods directly to the German Expressionism movement. When Petra wakes at the ...

  7. The Bitter Tears of Petra von Kant is a very important film because the viewer is bound to realize very quickly that it’s a camouflage. The part that Margit Carstensen plays is of course Fassbinder himself, and the part played by Hanna is actually Günther Kaufmann. The silent maid is Peer Raben.

  8. Margit Carstensen. Actress: The Bitter Tears of Petra von Kant. Margit Carstensen was born on 29 February 1940 in Kiel, Schleswig-Holstein, Germany. She was an actress, known for The Bitter Tears of Petra von Kant (1972), Martha (1974) and Possession (1981).