Liebeskonzil

Liebeskonzil

Release date : March 12, 1982
Runtime : 1h 32m
Countries of origin : Germany /
Original Language : German /
Director : Werner Schroeter /
Production companies :
March 12, 1982 1h 32m Germany Drama German More
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Overview

Oskar Panizza’s The Council of Love (1895) is a blasphemous play set in 1495, during the first recorded outbreak of syphilis, which Panizza satirically presents as the punishment from Satan for sexually active humans. As a result, Panizza was imprisoned for obscenity. Schroeter alternates scenes from the Panizza’s work with a dramatization of his trial, presenting the play as an expressionist spectacle performed by actors wearing exaggerated makeup who gesture and grimace grotesquely. The film thus forms a bridge between Schroeter’s use of tableaux in his early experiments with the political urgency of his 1980s films. On the eve of the AIDS crisis, Schroeter is presciently worried about disease as an excuse for governmental repression and the oppression of sexuality. - Harvard Film Archive
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Antonio Salines
Teufel / Dr. Panizza
Magdalena Montezuma
Doppelzeugin
Kurt Raab
Gerichtspräsident
Renzo Rinaldi
Gottvater
Margit Carstensen
Staatsanwältin
Heinrich Giskes
Verteidiger
Lauro Versari
Cherubim
Patrizia La Fonte
Selbstmörder-Engel
Guido Polito
2. Engel

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  • title:Liebeskonzil
  • status:Released
  • Release date: 1982
  • Runtime:1h 32m
  • Genres: Drama ·
  • Countries of origin: Germany ·
  • Original Language: German ·
  • Director: Werner Schroeter /
  • Writers: Oskar Panizza · Dietrich Kuhlbrodt · Roberto Lerici · Horst Alexander ·
  • Production companies:
  • Overview:Oskar Panizza’s The Council of Love (1895) is a blasphemous play set in 1495, during the first recorded outbreak of syphilis, which Panizza satirically presents as the punishment from Satan for sexually active humans. As a result, Panizza was imprisoned for obscenity. Schroeter alternates scenes from the Panizza’s work with a dramatization of his trial, presenting the play as an expressionist spectacle performed by actors wearing exaggerated makeup who gesture and grimace grotesquely. The film thus forms a bridge between Schroeter’s use of tableaux in his early experiments with the political urgency of his 1980s films. On the eve of the AIDS crisis, Schroeter is presciently worried about disease as an excuse for governmental repression and the oppression of sexuality. - Harvard Film Archive
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