In “Ali,” the woman is an older widow, but unlike Wyman or Moore, she is a dumpy, wrinkled cleaning lady; the younger man is a hunky, decades-younger Moroccan “guest worker” who barely speaks German.
Arguably Fassbinder’s masterpiece, this deadpan, crystalline evocation of petit-bourgeois misery inaugurated a new phase in his career, coinciding with his growing reputation abroad. If you’ve never ...
Fassbinder charts the decline of a self-destructive former policeman and war veteran struggling to make ends meet for his family by working as a fruit vendor.
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