Tina Frese

On February 20th, 1810, French and Bavarian forces killed the Tyrolean rebel leader Andreas Hofer in Mantua, at that time a part of Austria. Hofer had led the Tyroleans in their fight for independence from Bavaria and was betrayed by an insignificant farmer, the betrayal and its effect on the farmer is the subject of this historically-based drama. Director Christian Berger has shot the story emphasizing visual poetics, as well as close-ups to reveal the nuances of subtle emotions as they play across the human face. Whatever the farmer Raffl's motivation -- he is clearly an underdog, overworked, with his labor unrecognized -- he receives no expected reward for his betrayal of Hofer's hiding place, and he has to quickly leave for the city to escape his fellow villagers' wrath. Once in the city and working hard in a factory, Raffl must come to grips with the fact that his identity has changed, and he may have betrayed himself as well as Hofer.

An amalgam of documentary and cinema verité, this movie outlines the life, loves and music of Rolling Stones bass guitarist Bill Wyman. After leaving the Stones in 1981, Wyman tried to establish his own separate musical identity, conveyed here through a stream of hallucinatory images and animated sequences.

Director Robert Dornhelm casts Bud Cort for alter-ego purposes in She Dances Alone. Cort plays a documentary director, seeking to produce a film on the life of controversial ballet star Vaslav Nijinsky. He finds his goal of objectivity blocked by Nijinsky's elderly real-life daughter Kyra, who is as stocky as her father was sylph-like. Kyra's uncompromising insistence on total control over the project literally shapes (and frequently distorts) the film before our eyes. Adding to the Pirandellian atmosphere of the Australian-produced She Dances Alone is Max Von Sydow, also playing "himself."

Menschenfrauen is a film about relationships and the psychological oppression of women in society. Franz, a journalist, maintains relationships with four women. His three mistresses are introduced with television dreams of intense emotional violence (in the first dream, a mother shouts at her daughter, explaining that as a girl, she does not deserve a room of her own), and the fourth is his wife. He is desperate to have each to himself. Franz never offers a substantial sign of love, but is willing to say anything and make any promise for affection. His dependence on women for fulfilment is explained through arguments with his wife. He claims "I am my own sound. The women produce voices within me." An understandable and sometimes sympathetic antagonist is one of the films greatest strengths. The emotional damage he causes becomes believable.