Margarethe von trotta biography of barack
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Her TV film "Die andere Frau" ("The Other Woman") tells the love story between a woman and a former "Stasi Romeo".
After shooting the star-studded psychological drama "Ich bin die Andere" ("I Am the Other Woman", 2006, with Katja Riemann, Armin Mueller-Stahl und August Diehl in the lead roles), von Trotta took on another historical topic: In "Vision – aus dem Leben der Hildegard von Bingen" ("Vision: From the Life of Hildegard Von Bingen", 2009), she tells the story of the legendary mystic, who became famous as a healer and as an early champion of women’s rights.
Her next feature film "Hannah Arendt" with Barbara Sukowa in the lead role was based on yet another real-life figure and portrays the life and works of the Jewish German-American philosopher and journalist, who left Germany in 1933 and worked extensively on National Socialism and on fundamental questions of ethics, power and constitutionality.
An easier topic was the comedy film "Forget About Nick" (2017) about two very disparate women, who have to share a luxury apartment in New York.
In May 2018, she presented the first documentary of her career at the Cannes Film Festival: "Auf der Suche nach Ingmar Bergman" ("Searching for Ingmar Bergman"), a very personal search for traces on the occasion of the 100th birthday of the Swedish director (1918-2007).
Von Trotta recreates Arendt's formulation of the "banality of evil," observing Eichmann not as a demonic ideologue but as a bureaucratic functionary whose thoughtlessness enabled genocide, based on trial transcripts and her correspondence with Karl Jaspers. Second, in 1981, she followed this up with Marianne and Juliane (which won the Golden Lion Award at the Venice Film Festival, presented to the first woman since Leni Riefenstahl’s Olympia in 1938).
Von Trotta lives in Paris and Munich.
Margarethe von Trotta
Margarethe von Trotta (b. Before her life-changing discovery of cinema—especially that of nouvelle vague (new wave)—while on a trip to Paris, Margarethe von Trotta studied business for two years and worked in an office:
Prior to that, however, Margarethe von Trotta tried many different things.
Von Trotta's films perfectly encapsulated this ethos, offering critical perspectives on society, history, and the human condition.
Her works contributed significantly to the movement's diverse tapestry, often standing out for their nuanced exploration of psychological depth and their challenging of societal norms. The film premiered at the Toronto International Film Festival and went on to win a number of awards.
In "Die abhandene Welt" ("The Misplaced World", 2015) about a widower who believes to recognize his deceased wife in a picture of an American opera singer, von Trotta once more focused on family relationships.
This style echoes the classical German Problemfilm tradition, focusing on accusatory drama to interrogate social issues, in contrast to the more stylized, personality-driven aesthetics of New German Cinema peers like Rainer Werner Fassbinder.[7] Her approach employs typified figures—serving predetermined roles in thesis-oriented plots—to explore emancipation and conflict, often in confined, intimate spaces akin to drawing-room dramas, as in Schwestern oder die Balance des Glücks (1979), where sisterly dynamics reveal psychological balances through dialogue-heavy structures reminiscent of Ingmar Bergman's chamber pieces.[7]Visually, von Trotta creates stark, sombre atmospheres with well-lit interiors that contrast thematic darkness, using motifs like doppelgängers to visually embody intertwined identities and oppositions, particularly in female relationships.
This portrayal underscores Luxemburg's commitment to internationalism and anti-militarism, earning the film the Golden Lion at the 1986 Venice Film Festival for its historical fidelity and dramatic tension.[38][39]Vision examines the 12th-century Benedictine abbess Hildegard von Bingen (1098–1179), a polymath known for her theological visions, musical compositions, medicinal writings, and scientific observations, including early descriptions of environmental interconnectedness.
Her collaboration with the legendary Rainer Werner Fassbinder, one of the most prominent figures of the New German Cinema, was particularly formative. This period of apprenticeship allowed her to hone her craft and understand the intricacies of narrative construction.
Furthermore, von Trotta also ventured into acting, appearing in notable films by some of her most celebrated contemporaries.
After her divorce, she moved first to Italy and then Paris, which is where she lives today.
Her first film, The Lost Honor of Katharina Blum, which she co-directed with Schlöndorff in 1975, narrates the story of a young woman who has a casual affair with a man she later discovers to be a terrorist. The film highlights Hildegard's dictation of visionary texts like Scivias (completed 1151) under divine compulsion and her herbal remedies, drawn from surviving manuscripts, while portraying her as defiantly independent, engineering the relocation of her convent in 1150 against ecclesiastical orders.
She won the Bayerischer Filmpreis as Best Director and the film was submitted as the German entry for the Oscars in the Best Foreign Language Film category.
Following this, von Trotta did some TV work including the multi-award-winning miniseries "Jahrestage" (2000) based on Uwe Johnson's tetralogy of novels, before she shot her next feature film "Rosenstraße" about "Aryan" women protesting on behalf of their Jewish husbands during the Nazi period in Berlin.
Her commitment to historical accuracy and her ability to bring complex, often overlooked, stories to the screen continue to inspire filmmakers around the world. Also together with Schlöndorff, she co-authored and co-directed the adaptation of Herinich Böll’s "Die verlorene Ehre der Katharina Blum" ("The Lost Honour of Katharina Blum").
After finishing secondary school, she studied at the commercial college for two years before working in an office for a couple of months. Her pioneering efforts in showcasing female narratives and challenging traditional gender roles paved the way for a new generation of women directors.
She was born in Berlin, Germany. 1942) is an actor, one of the foremost German film directors, a member of the New German Cinema movement, and one of the most important feminist filmmakers in the world. Loosely based on the real-life sisters Gudrun und Christiane Ensslin, the film reflects on different forms of political activism and the confrontation with the inflexibility of society.