Cybernetics engineer Fred Stiller uncovers a massive corporate conspiracy involving a virtual reality computer project.
Cybernetics engineer Fred Stiller uncovers a massive corporate conspiracy involving a virtual reality computer project.
Klaus Löwitsch Barbara Valentin Christine Kaufmann Ingrid Caven Mascha Rabben Karl-Heinz Vosgerau Wolfgang Schenck Günter Lamprecht Adrian Hoven Ulli Lommel Ivan Desny Joachim Hansen Kurt Raab Margit Carstensen Gottfried John Rudolf Lenz Lilo Pempeit Heinz Meier Peter Chatel Rainer Hauer Karl Scheydt Ernst Küsters El Hedi ben Salem Solange Pradel Bruce Low Elma Karlowa Maryse Dellanoy Werner Schroeter Magdalena Montezuma Show All…
Cinematic paranoiac, the great philosophical science fiction mindfuck noir of 1973. As far as connecting with me mentally, this is right in my wheelhouse and pulverizes all the ‘not for me’ slop movies I’ve been suffocated by over the last few weeks here in weirdo 2020.
Even better on a revisit.
I fell asleep during The Matrix. Its themes seemed to me, at the time of its release, more or less just trite ideas that I had already read about in various intro philosophy texts and whatnot, and the areas it touched on were never my areas of interest in philosophy anyway. It muddled its religious undertones, and the ethical questions were given short shrift. Fifteen years later, I watched a movie nearly twice as long, which eschews action in favor of psychological intensity, and tackles many--but not all--of the same questions.
It was much better this time around.
The first and best difference is aesthetic. Fassbinder has created a science fiction world that looks schlubby. It's populated by suits and…
Fassbinder's science-fiction/noir hybrid was really years ahead of its time. Not only in its ideas but in its aesthetic as well. This was such an obvious influence on The Matrix. The Wachowski siblings even modeled the "what does chicken really taste like" scene after a sequence included here.
Its 3,5 hour runtime might deter some modern day viewers from watching it, but they should at least give it a chance, because it's a very rewarding watch.
Some obvious inspiration for The Matrix but I wanna give a special shout out to the Wachowski Sisters for expanding those two blonde guys into the albino twins in The Matrix Reloaded. And then for coming back to this well years later to use Stiller’s car as the inspiration for Speed Racer.
Speaking of which, I had the damndest time trying to figure out if this inspired Blade Runner or not. Possible that this movie was simply inspired by Philip K. Dick. But the main guy sort of looked like a German Harrison Ford, you see. So you can understand why I’m over here like “uhhhh okay??”
The movie kept a really smart narrative distance from Stiller and his troubles.…
I Am Curious Orange and Teal (Aren't I?)
I love how nervous the camera is in this. Searching the room for clues, fixating on mirrors and reflections and spheres, scanning along walls and corridors. It really invites you into the paranoid headspace of the protagonist in a horrible way. I have to go now, someone is watching me (from above...or is it below?).
I’d never heard of World on a Wire before Criterion’s announcement of its re-mastering and subsequent theatrical re-release in 2010. The trailer they’d put together hooked me immediately, based mostly on the retro-future set design and the promise of a strange, hard sci-fi thriller full of intrigue and mystery. The picture did not disappoint. With the recent blu ray release, I was thankful to be able to sit down with this epic film once again and try and make sense of any details I’d missed the first time around.
In the not-too-distant future, a supercomputer called ‘Simulacron’ provides scientists with the ability to simulate and study a virtual society comprised of 10,000 ‘identity units’. When the technical director of the…
Fassbinder gets the jump on decades of philosophical sci-fi with this miniseries. His penchant for reflective surfaces and obscuring glass is taken to an early extreme here, with countless shots incorporating reflections into blocking or framing characters through glass that often warps dimensions and even at its least intrusive makes it clear that everyone is being watched. (The adjective "cinematic" is used freely and almost always emptily in current discussions of TV, but Fassbinder, like the other European auteurs who experimented on the small-screen, comes closest to cinema by expressly foregrounding the format of their television productions with an aesthetic that shows them adapting to its different demands and even the implications of its alternate screen.)
There's way too much…
Reflections, distortions, refractions, obstructions... Reality is seldom clear-cut, and World on a Wire takes that notion to the extreme. One of the most impressive made-for-TV movies I have ever seen, Fassbinder takes us on a twisted tour of technology, our minds, and reality. Heavy on psychology, philosophy, and gleefully 70s-style zoom-ins, Fassbinder's flair for visually arresting cinematography take this sci-fi tale from dated to exemplary.
The use of mirrors, while seeming almost heavy-handed at times (nearly every other shot seems to have a reflection of one of the speaking actors), hammers home the underlying theme of paranoia - both of the invisible limits of our own perception and our minds' attempts to enlarge our world beyond those limits. In browsing…
I think, therefore, I am.
Imagine reflecting a mirror on a mirror, thousands of Tiny-Mes unaware of the existential crisis that looms. A world built on wires, stretching towards infinity. Combining Tarkovsky's elegance and the alienating effect of Kubrickian aesthetics, this 3-hour german science fiction epic definitely belongs up there among the genre-defining ranks. But unlike Blade Runner or 2001 which convey large, complicated ideas through ethereal and mindbending visuals, World on a Wire actually thrives on simplicity.
The film is especially alive during the second part when it turns into a paranoid thriller where everything screams plot. The uncertainty, fear seeps into the air, the walls, even the camera, like in Coppola's Conversation, constantly checking around, looking into mirrors,…
I’ve never done cocaine, but I have watched this movie, and I can’t imagine the experience is much different.
In other words:
It’s the kind of film where, at a certain point, a guy manically shoots at a bird—indoors—which inevitably leads to a cabin exploding.
A weird, hyper-stylized existential sci-fi noir film. Simultaneously overly dramatic and expressionless. Practically drowning in the philosophical implications of it’s premise.
The whole time I couldn’t help seeing the influence of Godard’s Alphaville on this film (confirmed later by a brief cameo), and the influence of this film on Fukunaga/Somerville’s Netflix mini-series Maniac.
Every camera move is pointedly virtuosic. Every mirror is a metaphor. Every room is stylish. Every look is sly, knowing. Every reality is both below and above another.
So, basically, it was delightful.
You know a film is long when, after you've finished it, you think to yourself, "Bloody hell, I'm knackered. I'm going to put a film on to relax."
Of course, World On A Wire isn't or wasn't really a film, but a two part mini-series that has since been spliced together into one very, very lengthy whole. But this being me, I wanted to watch it all in one go and having spent 9 hours or so working today, this was my reward. Yes, I do have funny ways of rewarding myself, what the fuck's it got to do with you?!
It's also my first Rainer Werner Fassbinder - sort of. I did start watching Chinese Roulette earlier in the…
Meticulous, detailed presentation of the cyberpunk truisms that link Virtual Reality concepts to Gnostic thought; anamnesis, demiurgic pocket universes... it's all here, long before The Matrix and even a few years before PKD had the breakthrough/breakdown that allowed him to put his ideas into their definitive form. Maybe those ideas are just innately, always-already a part of such stories, I won't hazard a guess, but Rainer doesn't miss a beat, even though it's something you'd imagine to be far outside his skill set or interests. He never really struck me as a metaphysics kind of guy, you know?
That reverse-dolly zoom-out at the end is one of the hardest-working,most eloquent shots I can think of. Yowza. You'll just have to…
hey colin, watch this again.
Originally a two part TV series, this was rainer’s sorta sci fi noir. The script was adapted from dan galloy’s simulacron 3. sadly it’s rainer’s only sci-fi but thankfully it’s a rainer movie thru n thru. With that doug sirk melodrama and the vibe that rainer called one of the major themes of his work, “the alienation of a man from his own identity”.
Thx to a lack of special effects this movie gets compared to godard’s alphaville a lot, there’s even a cameo from alphaville’s star, but rainer ofc was also influenced by doug sirk and his use of mirrors. doug said that “a mirror does not show yourself as u are, it shows…
Mindfucked. Felt like I was in a living nightmare the way it unfolded. A perfect encapsulation of a puzzle box movie executed brilliantly.
I like a science fiction that challenges the audience and my expectations were met here. The sound design is intense and hypnotising, the visuals are vibrant and colourful, the cast is full of range and talent, the screenplay is compelling, and that long run time goes by in a flash.
World on a Wire > The Matrix.
In short, World on a Wire put me on a blender. at first I was super intrigued by the sci-fi simulation concept and aesthetics, then it got really convoluted to the point where I decided that I’m just too dumb for this, and then at some point I almost fell asleep, but by the end I found myself rendered speechless and dumbfounded. the more I think about this film, the more I seem to like it.
plot and concept aside, seeing Fassbinder’s distinct visual style implemented in a sci-fi flick is definitely something my eyes needed to see. his way of manipulating the camera just blended right in the science fiction aesthetics. and the way he used reflections here just…
fantatischer Film. Ein interessantes Konzept umgesetzt mit guten Ideen. Umso beeindruckender, weil Fassbinder vermutlich ein sehr kleines Budget dafür hatte. wir finden die gleiche Grundidee auch in anderen Filmen wie Matrix. Aber hier mit weniger Action, mehr Ruhe und Raum für Kontemplation für die philosophischen Fragen, und daher für mich besser, umgesetzt.
Really love the shabby and occasionally inexplicable future/simulated world Fassbinder creates. Makes a virtue of a limited budget.
The Wachowskis could have learned something from this. Instead they learned how to do blockbuster movies and they seen to be unlearning that as well. Besides the headache, going to keep this one movie among some other less know movies in mind while watching the fourth Matrix in the franchise.
Interesting, delightfully devious mindfuck of a film, but suffers under its lengthy runtime and not the most inspired directing from Fassbinder.
Deliciously eerie and wonderfully weird. Strong premise and the concept is so beyond impressive and light years ahead of its time. "World on a Wire" is however too bloated to really stand as a towering achievement in sci-fi or as an great entry into the otherwise impressive filmography of Rainer Werner Fassbinder. Letting this be a character piece and posing the philosophical questions, instead of relying on action, is definitely unique and welcome one. Klaus Löwitsch is just too mediocre to make it really blossom and it's easy to wonder how the supporting cast with future Fassbinder standouts such…
I forgot to write anything immediately after the movie club conversation, and I feel like all of my brilliant thoughts have passed through my mind like electricity through a wire. An incredibly subtle sci-fi film that probably would have blown my brains out in my druggier college days. Still fun to chew on. It says a lot when you're almost immediately ready to rewatch an almost-4-hour film. 4 stars.
I'm the woman applying lipstick while dying on a tiger print couch
How the hell was someone making a film about living in a computer generated matrix all the way back in 1973! This was great, totally intriguing from start to finish with all the unusual aesthetic stylings you would expect from something made by Fassbinder.
first part is better than the second part but like this is wild and philosophical and now i’m questioning my reality <3
Ethan Vestby 82 films
Open to suggestions
Post-internet/pre-social media count
Ivica_Pusticki 1,000 films
You all heard about that famous book called "1001 Movies You Must See Before You Die", right!? There has been…