Rosel Zech's Veronika Voss, like Gloria Swanson's Norma Desmond, is a washed up and forgotten actress. And only through the actions of an otherwise oblivious outsider does Veronika make it back to the silver screen, with results not much better than Norma's.

Rainer Fassbinder's final film is a black-and-white ode to defeat, its questionably sane star obsessed with her own faded fame and willing to do anything to reclaim it. It doesn't seem terribly self-referential; Fassbinder was at the top of his game before he killed himself shortly after finishing the movie (curious point of trivia: Voss meets her end in an identical same fashion). Perhaps, though, it was frustration with filmmaking that led to Voss's big screen recreation -- or his frustration with life in general. (Of note: Voss is reportedly based on a real German film star, popular during the Nazi era and all but forgotten after its collapse.)

Continue reading: Veronika Voss Review