Lola (1981)

THE BDR TRILOGY

By the age of 34, German director Rainer Werner Fassbinder had already directed 22 feature films. In 1978, he embarked upon a project to trace the history of postwar Germany in a series of films told through the eyes of three remarkable women. Fassbinder’s The Marriage of Maria Braun, Lola and Veronika Voss—the BRD (Bundesrepublik Deutschland) Trilogy—would garner him the international acclaim he had always yearned for and place him foremost in the canon of new German cinema. These three films influenced my design vision and craft for nearly a decade.

Germany in the autumn of 1957: Lola, a seductive cabaret singer-prostitute, exults in her power as a temptress of men, but she wants out—she wants money, property and love. Pitting a corrupt building contractor against the new straight-arrow building commissioner, Lola launches an outrageous plan to elevate herself in a world where everything, and everyone, is for sale. Shot in childlike candy colors, Fassbinder’s homage to Josef von Sternberg’s classic The Blue Angel stands as a satiric tribute to capitalism.

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