The Second Awakening of Christa Klages Page #5

Synopsis: Three people rob a bank to help a day care center that's in debt. Wolf is captured, Werner identified, police suspect Christa is the third. She and Werner ask Hans, a clergyman, to launder the money and give it to the kindergarten. He refuses. They try Ingrid, Christa's friend, who tries to help, but the school rejects the money. When tragedy strikes Werner, Hans helps Christa bolt to a collective in Portugal. Ingrid visits her; their relationship makes the collective nervous, so she returns to Germany and ceases living in hiding. The police are still looking for her and so is a witness to the robbery, Lena, a bank clerk. Lena's interest brings Christa's second awakening.
Genre: Drama
  3 wins & 1 nomination.
 
IMDB:
6.9
Year:
1978
88 min
19 Views


they closed the kindergarten.

So they threw them out, huh?

Reingard's taking care of

a few of the kids at her place.

- What about Eyip?

- I don't know for sure.

You better go. Give Mischa

a kiss from me. So long.

Can't I do anything

for you?

'When you are old and grey

and full of sleep,

nodding by the fire,

take down this book,

and slowly read,

and dream of the soft look

your eyes had once,

and of their shadows deep;

How many loved

your moment of glad grace.

And loved your beauty

with love false or true,

but one man loved

the pilgrim soul in you

and loved the sorrows

of your changing face."

Why don't you

open the door?

- I'm sick. Go away.

- I'm responsible here.

There's something

has got to be fixed.

The faucet's leaky.

And when you move out,

you'll have to repaint

the walls, you know.

Would you like a beer?

I can go buy some.

No thanks,

I don't drink.

Are you alone here?

Sick?

I'm not really alone.

I have a daughter.

She's 5.

Haven't seen her

for a long time.

She needs me. She's

starting school this fall.

It won't be long until

I move out of here, though.

I was out of the country

and didn't know where

to go when I came back.

So I couldn't see

my daughter.

But I'm not really sick.

I'm feeling much better.

I know where I'm going.

You can't live in this place.

I just didn't know

where to go.

I'd never been alone

so long in my life.

I couldn't even

get up anymore.

I had the feeling I would never

get out of that room.

Then suddenly I couldn't

take it anymore.

I think about Werner a lot.

But I still can't believe

in what happened.

- It's all my fault.

- No.

- You shouldn't say that.

- But it's true.

Two checks for 1.000 each.

With this message:

"Even utopias have timetables."

Who could they be from?

That's nice.

Excuse the disturbance,

but your neighbor

called again.

Your kids are just too loud.

It's not that we care,

but when people complain,

we have to come.

Be a little quieter in there!

So, you can go now.

What if they recognized you?

I was in hiding long enough.

- Christa Klages?

- Yes.

You're under arrest.

Try to remember,

Miss Seidlhofer.

Take a good look at her.

Could she take off

the glasses and stocking?

Was that the woman?

No, I'm positive it wasn't.

THE SECOND AWAKENING

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Margarethe von Trotta

Margarethe von Trotta (born 21 February 1942) is a German film director who has been referred to as a "leading force" of the New German Cinema movement. Von Trotta's extensive body of work has won awards internationally. She was married to and collaborated with director Volker Schlöndorff. Although they made a successful team, von Trotta felt she was seen as secondary to Schlöndorff. Subsequently, she established a solo career for herself and became "Germany’s foremost female film director, who has offered the most sustained and successful female variant of Autorenkino in postwar German film history." Certain aspects of von Trotta’s work have been compared to Ingmar Bergman’s features from the 1960s and 1970s. She says that it was thanks to Bergman's films that she "‘fell in love’ with the medium and its possibilities for representing inner psychic worlds."Von Trotta has been called "the world’s leading feminist filmmaker." The predominant aim of her films is to create new representations of women. Her films are concerned with relationships between and among women (sisters, best friends, etc.), as well as with relationships between women and men, and involve political setting. Nevertheless, she rejects the suggestion that she makes "women’s films". more…

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Submitted on August 05, 2018

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