The inconsistency between Marianna’s politics abroad and at home shows the importance of the feminist argument that 'the personal is political': Marianne chooses to leave her son and family because she sees them as an obstacle in her fight for a greater good. But what happens when a woman is trying to make a change? Marianne's death is not a heroic act of martyrdom, but a sad silencing by the hand of the regime and the powerful: sacrifice your convictions or be punished for ‘acting out’.
Instead, von Trotta investigates sisterhood presenting memorable characterizations and some affecting episodes.
It’s interesting how many of Marianne's methods seem to be the result of internalised masculinist tropes of what should count as ‘radical’, 'revolutionary': for example, the violence and emotional detachment.
The film does not show Marianne’s arrest or the process of her political radicalisation. Marianne is not the film’s protagonist since the importance of all her actions register only through their effects on Juliane, her sister. We don't see the RAF's demonstrations, bank robberies, and abductions, which makes the film so much better: it's almost like von Trotta refuses to depict this history as spectacle.
Margarethe von Trotta’s Die Bleierne Zeit (Marianne and Juliane) explores the aftermaths of fictionalised version of the Red Army Faction (RAF), a militant left-wing political movement in Germany. Marianne turns revolutionary, abandoning her son in order to save the Third World. The film is based on the true lives of Christiane and Gudrun Ensslin (a co-founder of the RAF)
Hunter Schafer x Xavier Dolan x Prada
Comforting the disturbed. Disturbing the comfortable.
Destroy nuclear. Destroy boring
Ապագայի սոցցանցը։ Ոչ մի գովազդ, ոչ մի կորպորատիվ վերահսկողութիւն, էթիկական դիզայն, եւ ապակենտրոնացում։ Մաստադոնում դու ես քո տուեալների տէրը։