Palermo or Wolfsburg
- Nicola Zarbo: Nicola
- Otto Sander: prosecutor
- Ida Di Benedetto: Giovanna
- Magdalena Montezuma: Defender
- John Wacker: Judge
- Antonio Orlando: Antonio
- Brigitte Tilg: Brigitte Hahn
- Gisela Hahn: Brigitte's mother
- Ula Stöckl: Alderman
- Isolde Barth: pop singer
Palermo or Wolfsburg is a German feature film from the year 1980. Booth photographer for the film was Digne Meller - Marcovicz.
Action
Nicola is 17 years old. He comes from Sicily and is the son of a poor family. Germany is supposed to be for him the land of opportunity, and especially the land that helps to survive the family in Sicily. In Wolfsburg arrived, he finds work at Volkswagen. There he makes friends with other Italians who teach him how he best comes in German society over the rounds. Life can be in the far north to be good for the young Nicola, who gets a foothold despite language difficulties. He falls in love with the German girl Brigitte. The problem comes when Brigitte leaves the inexperienced in love Nicola. Nicola grew up in Sicilian tradition and his honor feels deprived. Nicola believes he has discovered his rivals and stabs two friends of Brigitte.
It comes to the process that Nicola can silently endure. He understands too bad German to mitzubekommen, what it actually is. His defender wants an acquittal. Only at the end of the movie confesses his guilt and Nicola gives his fate.
Reviews
- Lexicon of international film: Schroeter's unique film consists of three stylistically very different " acts": Realistic mixes with operatic elements and satirical distortion to the surrealist farce. The court spectacle of the third part -irritant and questionable.
- Peter W. Jansen tip, Berlin, 1980: It's a risky tour de force with which Schroeter " Palermo or Wolfsburg ," the nearly three -hour film, from a realistic documentary- start driving in the absurdity of realism. Realism has become absurd, where " Be realistic " style will no longer thinks, but the endorsement of cold, brutality and alienation as a real situation. In Wolfsburg, finally, is not Nicola in court, but everything that connects to the word Wolfsburg and must be identified: industrial efficiency and ruthless, misanthropic competition. Is on trial at the same time as well as our cinema fantasy. You must confess and prove before the Tribunal aesthetic of this film.
Awards
Werner Schroeter won with this film the Golden Bear at the Berlinale 1980.