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Posts tagged as “documentary”

Sisyphus in the City: A Review of The Advocates

Special To Topanga Journal

Years ago, we went to L.A.’s Skid Row to attend a rooftop screening of an old film that’d recently been discovered. It was being shown by some local historical society, the big point being that a few seconds showed the same area of L.A. we were sitting in, but nearly 100 years ago. We rode our bikes to get there, and, running late, we focused entirely on pedaling as quick as we could on the way in. By doing so, we avoided noticing the expanse of tents and refuse, the people lingering wherever they could. 

Rick Paulas

By Rick Paulas

But a friend took the bus to meet us, and by the time the film was over, that line had stopped running. This was before Lyft or Uber. And so, in the middle of some late Saturday night, we walked through Skid Row.

Nothing overtly memorable happened, but it’s a kind of journey you never forget. It was only a few blocks from the rest of downtown L.A.—the whole trip couldn’t have taken more than 15 minutes—but it felt like we had been transported to an entirely different country, time, or maybe universe. There were unique smells, garbage fire flickers, and chaotic arguments wafting into night. Residents were holding court inside or outside their tents, passing drugs or booze or food, or whatever else.

the whole trip couldn’t have taken more than 15 minutes—but it felt like we had been transported to an entirely different country, time, or maybe universe.” Rick Paulas

Despite the expensive high heels and tailored suits in the swanky bottle service nightclubs nearby, here was an entire community that had been abandoned. This was the last place these people had to go, and when they got there, they were forgotten. I never looked at the city the same way. 

Homelessness is one of the most pervasive signs of a system that’s fraying at the edges, and since our late-night walk through Skid Row years ago, it’s only gotten worse in America. As one commenter in Rémi Kessler’s new film The Advocates points out, while encampments used to be relegated to the various city Skid Rows throughout the country, they’ve now sprawled well beyond that. Tents are pitched along highways, nestled under overpasses. They populate city parks, while others place cardboard boxes in storefront alcoves. You’d be astounded at the number of folks who spend their nights in their cars. 

While development quickens and high-rises continue to be built, what’s missing in our current urban mindset is building housing for people who need it. There’s already plenty for people who don’t, but have the money to invest; this is how you end up with so many empty, as one commenter put it, “safety deposit boxes in the sky.” But what’s also missing to get there—and this is at the core of Kessler’s film—is the idea that secondary solutions to homelessness (drug rehabilitation, treatment for mental health issues, a good paying job) are not as important as literally making houses.

During my work as a journalist in Los Angeles and the Bay Area, I’ve interviewed countless of homeless folks for a variety of reasons, and whenever I ask them what they need to get off the streets, the one thing they mention is: An indoor place to go. While there are people on the streets with mental health issues, for many, problems like drug abuse or violent mood swings are not the reasons for why they’re on the street, but problems that occurred after they got there. 

Consider: What would it be like to sleep on a city street, with traffic blaring by, unprotected from the elements, unsafe from passersby? Would you feel a little bit groggy every day? Maybe not in peak shape to attend a job interview? Or—and here is the dark secret of homelessness in America—maybe not rested enough to keep the job you have? And then, if someone has a drug that’s take the edge off for a few moments, would you refuse it? 

Kessler’s film begins with the tale of Yolanda and Ruben, a brother-and-sister pair who once had indoor lives. They live in a few cars that double as places to store their possessions, but the cars don’t run, and due to parking restrictions, every week they have to push them across the street to avoid a ticket. Imagine the toll that takes on a life, and how those parking tickets could add up if, one day, you’re not well enough to heft the heavy automobile across the street. Try being in a kind mood, or mentally focused enough to lift yourself up by your own bootstraps, with that lifestyle.

As an expert says toward the end of the film, the solution to homelessness is very straightforward: Give people homes. After seeing The Advocates, you’ll see why.


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Leslie Zemeckis Continues Filling In History with Feuding Fan Dancers

Special To Topanga Journal

Viewing the “fan dance” in the year 2018 is a quaint, cutesy activity on par with listening to an old radio play or riding a horse.

From the comfort of your own home, in front of the glow of your laptop computer, you can search for the dance online and get its general gist. The dance will involve a lady, maybe nude, maybe merely scantily clad, and she’ll be holding two large ostrich feathers in her hands. She’ll use the dual objects to cover herself, and now and then—purposefully or otherwise—she’ll allow a brief glimpse of skin to the audience’s prying eyes. That’s what the crowd—men, mostly—has been waiting for, and they’ll hoot and holler their approval at the sight. 

Rick Paulas

By Rick Paulas

It’s fun, in an outdated, mostly innocent, sort of way. It’s a hobby for the privileged or curious, largely unnecessary for the general public to know or understand, certainly with no role in pushing the world’s culture forward. It’s time has come and went, sort of like that old form of the English language with its awkward misspellings and phrasings. Interesting to see, but in an era when you can see literally anything from one’s smartphone, we’re well past the allure that the fan dance originally created. For better or worse, we’ve moved onto more outrageous forms of self-expression.

“When it was first introduced, the fan dance was notorious and titillating. It was the inevitable next iteration of the showgirl spectacle, and like any innovation, that meant there was a large profit in it. This meant, like every other invention throughout history’s long game of leapfrog, there was a fight over who started it, and therefore, who owned the right to perform it.” Rick Paulas

But of course, this wasn’t always the case. When it was first introduced, the fan dance was notorious and titillating. It was the inevitable next iteration of the showgirl spectacle, and like any innovation, that meant there was a large profit in it. This meant, like every other invention throughout history’s long game of leapfrog, there was a fight over who started it, and therefore, who owned the right to perform it. 

For the fan dance, this culminated in a battle between Faith Bacon, “the world’s most beautiful woman,” and Sally Rand, one of the world’s most famous showgirls of all time.

This fight is the driving force throughout Feuding Fan Dancers, Leslie Zemeckis’ fascinating and page-turning dive into the lives of Bacon and Rand. But the book isn’t so much a stodgy legal thriller satisfied with merely picking the nits of creative ownership, but rather widens its scope to become a meticulous, behind-the-scenes analysis into the intersection of show-business and femininity in post-Depression America. 

I won’t spoil the ending, or announce who prevails, other than to say, it doesn’t really matter all that much. What matters is that here, finally, is the story of these two largely forgotten women. Part of that is because of the lack of media affordances that didn’t yet allow the ease of recording, but largely it’s been due to publishing gateways frankly not really caring all that much about the stories of women. The book’s ultimate goal—and increasingly the goal of Zemeckis’ work—is correcting those wrongs by filling in history’s blanks.

Leslie Zemeckis has been on a hell of a roll. Her 2015 book, Goddess of Love Incarnate, told the story of Lili St. Cyr, the so-called “highest paid stripteaser in America,” while her recent documentary Mabel, Mabel, Tiger Trainer highlighted Mabel Stark, the world’s first female tiger trainer. With Feuding Fan Dancers, it’s become even more clear how Zemeckis sees her role in the cultural discourse.

History, it is said, is the story of the winners, but really, it’s the story of those who storytellers consider powerful. Historical analysis has long been dominated with the stories of men, for the obvious reason men have largely held positions of what’s been considered power. But contrary to the inherent narrow framework of storytelling, power is not a top-down hierarchy. Kings get dethroned, managers retire or are ostracized, congressional officials retire or get impeached. Actual, real power comes from those changing society at its base. And one arena for that shift—the one that Zemeckis has chosen to focus on—is the world of popular entertainment. When it’s at its most potent, that is the true nexus of democracy and organizing, of creating and spreading propaganda strong enough to change the world.

It’s this lens that makes Zemeckis’ work important and vital, particularly in today’s post-Trump era, when the world’s most powerful positions are held by overtly feckless buffoons. The emperor has no clothes, but never really did, and there was never really a true emperor at all, just someone who happened to be sitting in a big chair. Now, like always, true power resides in the largely nameless figures who push the cultural football further down the field. They don’t campaign to get elected, or own billion-dollar businesses, or live in castles. They take what once was, and make it what it will be. Quite often, contrary to high school history classes, these figures are female. And now and then, they may even wear nothing but enormous ostrich feathers.


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Revealing The Fringes Of Paris: Benoît Fougeirol’s Award Winning Book Zus

Special To Topanga Journal

The photographer of the award winning book Zus is Benoît Fougeirol. He is based in and around Paris. Zus was published by X Artists’ Books. The publishing company is a collaboration between actor and writer Keanu Reeves, Los Angeles-based artist and writer Alexandra Grant, designer Jessica Fleischmann and editor Florence Grant. X Artists’ Books is an independent publisher, versus a self publisher, or vanity press. The books coming out of this little press are of value and on engaging subjects.

Kriss Perras headshot by Alan Weissman

By Kriss Perras

Zus documents, via a sociological photographic essay, sensitive suburban zones, or ZUS, a French acronym for Les Zone urbaine sensible. These forgotten pockets are located on the peripheries of the major metropolis of Paris, France. The ZUS are documented on the book’s cover by what appear to be mere confetti dots. These fringe districts were defined by administrative boundaries brought about by the “emergence of a social problem,” reports X Artists’ Books.

Fougeirol’s. “realistic approach allowed the viewer to explore these territories…through his photographs without a judgmental, hierarchical or authoritarian point of view.”   ADAGP Jury

With the help of security, Fougeirol photographed these marginalized areas sometimes in wide aerial shots showing what appear to be successful housing zones and in other shots close details depicting the decay and frailty of the projects’ failures. The honest and shocking photos are of walled in housing units that seem to be of buildings that were previously architecturally beautiful. Once beyond the walls, we see doors with faded paint that appear permanently jarred open. Tastefully designed staircases are fenced in with wired gates. In another disconcerting visual, the ZUS are laid out like war zone maps inside the book. The photos portray an innate sadness, a sense society is tearing a certain segment of people apart from the main group and setting them into a fringe society. Zus is a photojournalistic investigation into these areas that makes the viewer wince, if you care at all about people.

According to writer and professor Jean-Christophe Bailly, whose essay accompanies Fougeirol’s images: “We [were] not expecting so much immobility, or such ruins. Strangely, and as if by a flourish of tragic irony, this emptiness of space brings to mind the Ideal City in Urbino. There, too, the anonymous painter omitted all human figures. But where the imaginary scene from the Quattrocento was offered as the theatre of an existence yet to come, the images of the real city, the images of the ZUS, come across as decaying segments of a bygone existence: ‘people lived here.'”

Zus was nominated for the 2018 Les Prix du Livre at Arles. Zus recently won the Third Edition of the 2018 ADAGP Revelation Artists Book Award. This was part of MAD (Multiple Art Days), France’s national association of graphic and fine artists (Société des Auteurs dans les Arts graphiques et plastiques). June marked the month where 20 artists’ books were selected for consideration for the ADAGP Revelation Artists’ Book Award, which would also be exhibited during the fair. It was announced September 13 that Fougeirol had won the ADAGP Revelation Artists Book Award. 

The ADAGP jury stated Zus had, “renewed the approach to how the [Parisian] banlieues are represented.” The jury also stated Fougeirol’s. “realistic approach allowed the viewer to explore these territories…through his photographs without a judgmental, hierarchical or authoritarian point of view. The open configuration of the edition itself is free to be explored and leads to a sense of discovery of places so radically determined by their architecture they are almost impossible to access in real life. (Zus) is an edition to read, to leaf through, to unfold, to display, in short, to discover even while it captures the volatility of the ZUS.” 

The limited edition of Zus is in the collections of the Bibliothèque Nationale de France, Bibliothèque Kandinsky, Centre Georges Pompidou and the Bibliothèque d’Art et d’Archéologie, Genève. The limited edition sold for $900 each, and as of the writing of this article is sold out. 

The paperback edition of Zus is 9 ½ × 12 inches and 375 pages. It can be purchased from X Artist’ Books for $60.


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Alix Lambert: Prison Soul and The Edge Of Daybreak

The work of multidisciplinary artist Alix Lambert often shines a light on the dark sides of life.  As a documentary filmmaker, visual artist, TV and film writer-producer, photographer, musician, animator and author, her focus spotlights loss, transformation of identity, the forgotten, social injustice, violence, death and societal perspectives in a world where tweets aim for shock value rather than shock at the world we live in. Enter Lambert, a prolific observer and storyteller who, in addressing crime, injustice and the dark side, also uncovers how we survive and flourish in the face of adversity and the unexpected.  

Her latest project, “The Edge of Daybreak,” a 2018 short film, tells an extraordinary yet obscure story of a prison soul band by the same name. We learn how their album, “Eyes of Love,” recorded on September 14, 1979 in the confines of the Powhatan Correction Center, rose from the band’s love of music, determination and creativity beyond prison walls. 

Lambert heard about this prison band while preparing a podcast episode she was producing about music in prison. The story didn’t end up in the podcast, but Lambert was still interested in developing it into a film. Without much B-Roll, or supplemental footage, to work with she was able to capture the flavor of the times, not only with the music itself but with archival stills, footage and graphics.

Lambert interviews James Carrington, the keyboardist and leader of the band, as he tells of the unlikely journey of the band members meeting at Powhatan, writing songs, finding a local producer and recording seven songs in a restricted, five hour time limit in the visiting room of the facility with guards standing stoic behind each of them. In only one take, the members of The Edge of Daybreak created a flawless recording of original songs the band wrote and sang together.  

This documentary takes twists and turns that shed light on Bohannon’s, a local record store that sent mail order records to prisoners, how Carrington’s work release program led to the renaming of that store to “Carrington’s” and the results of an encounter by Carrington in Virginia with a New York transplant, North Carolina native Jon Kirby, eventually resulted in the re-issuing of this classic record.

After being released from incarceration, Carrington returned to his community and roots in gospel music and is now a well-known, successful local entrepreneur. The other members, who have since been released, still live in the area and enjoy playing and singing on their own. “The Edge of Daybreak” recently premiered in Richmond, Virginia where the story, and its four main musicians are based, so that band members, Carrington, Cornelius “Neal” Cade, guitarist, Jamal Nubi, drummer, and Harry “Cupcake” Coleman, percussionist, could attend along with some of their family members and the local community.  

When asked what was the most surprising thing Lambert learned about the band members and the album while working on this film, she said, “Rather than surprised, I was amazed that the album was so extraordinary and beautiful, especially under the conditions in which it was made. I’m a big fan of the band.” She has plans to expand this story further.

Lambert grew up in Washington, D.C. and studied art at a high school magnet program where she recognized the power of making art. She left for New York City at age seventeen where she attended the School of Visual Arts and Parsons School of Design. Her studies and art have taken her to many parts of the world. She has also lectured at numerous universities and has given a “TEDx Talk” on reaction to her film, “Mentor.”  

Lambert’s full-length feature documentaries include, “The Mark of Cain” (2000) about the language of tattoos in Russian Prisons; “Goodbye Fat Larry” about the murder of filmmaker Jon Pownall; and “Bayou Blue” (2011) about a serial killer in southwest Louisiana and “Mentor” (2014), her award-winning film about bullying and teenage suicide. Lambert has made a number of shorts, “Martha,” “Tiffany” and “Rabbits Among Them.”  She made her first film in 1997, a mockumentary about a female band in the vein of “Spinal Tap.” Her writing and directing credits include work for HBO, PBS and “This American Life She is also the author of a number of books. 

In the introduction of her book, “Crime,” Lambert addresses two traumatic events that crossed her own path early in life. When asked how these experiences influenced her direction depicting dark and difficult topics, and in what way have these traumatic incidents drawn her to the losses and injustices placed upon others and depicted in many of her works, Lambert responded, “To the extent that at an early age I was aware of paying attention in regard to people I loved, there is certainly an indirect relationship to the topics I choose.” 

The road taken by Lambert as a multidisciplinary artist is a rich and diverse one filled with its own unexpected twists and turns. Unlike those who approach with sensationalism the subject matter Lambert tackles, this artist remains fearless and determined to make us think beyond the shadows that are cast within the stories she tells. 

Exclusive: Kablitz-Post’s Poetic Lou Andreas-Salomé The Audacity To Be Free

Kriss Perras, Publisher & Editor Malibu Arts Journal

By Kriss Perras

Atropos, Clotho and Lachesis, also known as the Fates, reached down from the heavens and wrenched their mighty crowbar into the thing called inequality between the sexes and wedged the two one step closer to parity, in whatever direction that may lie, when they brought us Lou Andreas-Salomé (1861 – 1937). She was the first female psychoanalyst and a protofeminist. Nicknamed Lou by a pastor who mentored her, she was and has remained a controversial historical figure. She was a revolutionary philosopher and author, even considered so by her legendary male peers, Friedrich Nietzsche and Sigmund Freud. 

In the biopic film titled Lou Andreas-Salomé, The Audacity To Be Free, German director-writer Cordula Kablitz-Post portrays Lou as a femme fatale, perhaps because her contemporary critics felt she was socially unacceptable. To those at the time, this figure seemed to have stepped out of Pandora’s Box. One would think she would be beauty exotic to the women’s movement at that time because she chose to live unconventionally. She did not want to marry or have children. She wanted to study, enrich her mind and make her own decisions. She rejected the arbitrary constraints society put on women. But she was viewed as harmful to the tiny advances women were making for posterity. Truly Lou was the Baroque Aida with real elephants and camels brought to their doorstep rejected for being the lead role.

“She was a revolutionary philosopher and author, even considered so by her legendary male peers, Friedrich Nietzsche and Sigmund Freud.”

This biopic is a dramatic story of a woman who when pushed by the confines of an unfair system pushes back, and bites. The story is told through four different actresses in four different stages of Lou’s life. The principle role is played by adult Lou (Katharina Lorenz), followed by mature Lou (Nicole Heesters), teenage Lou (Liv Lisa Fries), and child Lou (Helena Pieske). 

Kablitz-Post made very strong casting choices in all the ladies who portrayed Lou in the four different life stages. 

When asked how she was able to come across such capable female talent, most especially the very talented 81-year old Heesters, Kablitz-Post said in an interview, “Thank you! It makes me happy to hear that, because Nicole is just great. It was my casting agent’s idea. Her name is Anja Dihrberg, and she did a fantastic job. Usually Nicole does not have many chances to play interesting characters in German TV. The reason is that still especially for women in her age there are hardly no interesting characters written in screenplays. Mostly she has to play one-dimensional supporting characters who have no life of her own, although she is very experienced and a great actress in theater and TV. Nicole is strong, intelligent, funny, glamorous and sexy –  something what you normally do not expect from a 81 year old woman.”

Liv Lisa Fries played a very convincing teenage Lou. The mirror scene where she looks at herself in the mirror and remembers what her father said to her, the look of anguish in her eyes was very compelling, emotional and drew the audience into her character at that stage in her life. This is a young actress we should keep an eye on as her skill level is very advanced for her age. 

Katharina Lorenz played a very emotional performance as adult Lou. She was ferocious, independent and just the right amount of feminist to be plausible. She even had the right look to be a compelling look alike to the real life Lou. The through line of each of these roles one to the next is part of why these women did a good job of telling the entire life story of Lou. They each remained in character but each of them kept to the same character of the real life Lou. This is in part due to the fabulous job of the director.

Kablitz-Post directed some very unique shots in the film. She was not in charge of a multi-million dollar franchise, but she directed shots that were very cinematically beautiful nonetheless. 

“Sometimes necessity is the mother of invention,” said Kablitz-Post. “The problem was to show the original historical locations that we wanted to have in the film, because Lou was traveling a lot through St. Petersburg, Rome, Zurich, Vienna and Berlin. My Austrian set designer Nikolai Ritter, and the VFX head of the German company Mackevision Juri Stannosek and me, developed a unique idea to establish the historic outside shots of these cities, surprisingly poetic and most authentic, in such a way that the production value appeared much higher than the budget allowed. We used historical postcards of the cities and let our Lou actresses walk through these postcards. The effect is that everything else and everybody on the postcard is of course steady and motionless whereas the only one moving and living is Lou. Technically our actress was shot before green where our camera took the same position as the historical camera that shot the postcard. The effect is overwhelming, because it was never done before this way. It adds a poetical and deep meaning, so that the spectator feels and sees how I perceive Lou, that she is a very modern woman feeling like an alien in her own time. I see her as if she was the only really ‘living’ person, whereas she must have felt as everybody else is stuck in conventions.”

As far as the historical photos, the director and her team went to great lengths to find the many photos in the film.

“My art director Mike Schäfer did excessive research in all sorts of national archives and bookstores, and I decided in terms of getting the most interesting images of Rome, Zürich, St. Petersburg, Berlin and Vienna in the original time of 1867 until 1900,” said the director.

The film has had several titles in its short life so far. When asked why this would be, the director gave a compelling answer.

“There is different knowledge about Lou Andreas-Salomé’ s work and life story in every country, so we tried to give an impression of the film already with the title according to the different countries,” said Kablitz-Post. “The first international premiere was during the Film Festival of Shanghai in 2016. There, the english title In Love with Lou was inspired by Wong Kar-Wei’ s film In the Mood for Love which I admire a lot. I did not know how much the Chinese audience could be interested in a film about German intellectuals. I was happy to see that the title worked in China, and the film was always sold out, and in the end being sold to be licensed in China. In France, we decided, as in Germany, to use Lou’s full name only as a title, because there she was already known by her full name, especially in France. In Brazil, we trusted the distribution company when they decided to use only LOU as a title which also worked out great. The film is still running in Brazilian cinemas since January. And here in the U.S. it was the idea of our distribution company Cinema Libre to add ‘The audacity to be free’ in the title. This is like a log line for me, and I liked the idea very much immediately.”

Kablitz-Post states she came upon Lou’s story by accident. She found her biography at the city library when she was just 17 and has been intrigued ever since. A great ostrich of an opportunity nested itself in her lap at a tender age, yet Kablitz-Post didn’t know how big the day was.  

“She was something of a pioneer of emancipation,” said Kablitz-Post.

History was trudging along making small steps for the women’s feminist hive. Then fwap! With apparent forethought, the feminist icon jumps out of the cake. During a time when the world didn’t believe anyone would read what a woman had to say, Lou became a published novelist, poet and essayist. She at first had to publish under a pen name. Bilk! All the bustle causes observers to notice. At a party it became known she published the work. She wanted a life free from the patriarchal bonds placed on her gender. She disagreed with spurring genius and passion in others. She found common ground on these points in Nietzsche, Freud, Paul Rée and her lover, the poet Rainer Maria Rilke. Those interested in symbolism could and should attach Aida symbolism to Lou and her male encounters. She was continually caught up with the idea of should she continue her role as a leader for women and intellectual pursuits, or should she indulge in physical pleasures? As her intellectual pursuits build to intoxication, she finds the Pony Express rider arrives with a bulletin announcing a setback to her way of thinking. Wham! She falls in love with Rilke. 

According to Anais Nin (1903 – 1977), a woman who wrote explicitly about sex from a female point of view, Lou “may have seemed inhuman to some men because she announced the end of [her] relationships, which the man usually does. … She said to Rilke, ‘Now the passion is over, so the relationship is over’, which was very unusual at that time.”

She was the only daughter of six children. As a teenager, she persuaded a Dutch preacher 25 years older than her to teach her theology, philosophy, world religions and French and German literature. She studied at the University of Zurich. Two years later she met Rée, where they engaged in something of an intellectual battle at a party. This sparked each of their interests in the other. He asked her to marry him, and she refused, stating she would never be free if she married anyone. Thus began a long and intimate friendship between the two. Lou held to the belief that giving in to love or lust would disconnect her for her intellectual freedom and academic achievements. Lou met Nietzsche through her friendship with Rée. And thus begins the love triangle in the film. The Fates were going to let us have our protofeminist. 

Protofeminism predates the feminist movement. Women like Lou and Charlotte Brontë, and other such authors, were challenging and critiquing the treatment of women in the US and British society. Their literature pre-sage the 20th century monumental changes like the Nineteenth Amendment in 1920 and the Representation of the People Act in 1928 in Britain. A protofeminist is an early author, thinker or leader who despite cultural norms to the contrary sought equality for women on every level. It is because of women like Lou and Brontë that modern women can say we are feminists. Not that we can long lounge on our laurels today. Everybody can ponder the limp corkscrew and broken balloons of our premature festivities until Monday morning when Cimmerian realism again wags its spindly finger under our noses mocking our lack of this and that. 

The Vesuvian eruption of feminism that followed Lou could have never taken place without her and her kind. What Lou best did for her contemporaries was interpret and push the boundaries for women’s rights. She was a lens with which Nietzsche and Freud and other male role models used to interpret the world. No other woman of her time clarified points for these men like Lou. How could they when they lacked basic education and rights to do simple things like own property and speak their minds?

As Hitler’s Nazi party reared its ugly head in Nationalist Socialist Germany through the 1930s, Lou lived alone with her housekeeper, Mariechen. The Fates one again knocked on Lou’s door in the form of Ernst Pfieffer who ultimately penned a biography of her life based on the stories she shared with him. In real life, Lou in the end died of uremia in her sleep. In the film there is a different ending, so no spoilers here.




Lou Andreas-Salome will have three upcoming US screenings:




181-189 2nd Ave. @ 12th Street.

New York, NY  10003

Tickets & Showtimes:




11523 Santa Monica Blvd.
West Los Angeles, CA 90025
Tickets & Showtimes:




3405 Central Ave. NE

Albuquerque, NM 87106

tel: (505)255-1848

Showtimes: Friday April 27 – Tuesday May 1 @ 3:30PM, 8:15PM


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