Der goldene handschuh fatih akin

“Whoever fights monsters should lakers to it that bei the process he does not become a monster. Und if sie gaze long enough into bei abyss, die abyss wollen gaze back into you.”― Friedrich Nietzsche

We live in a sphere von opposites, a location where good and evil, light und dark, faith und reason, love and lust exist side von side in in uneasy truce. Within this realm zu sein the fragile sphere where die exquisite and the cursed collide. Based upon a true story, Fatih Akin’s Competition entry Der Goldene Handschuh (The golden Glove) records these collisions through die inherited trauma of a serial killer, fritz Honka (Jonas Dessler) and the dark fissures des a post war German society, fraught through memories of growing up bei the third Reich. Ns memories von World war II, both first hand and inherited space subtly dissected und disembowelled in this gruesome society study.

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Honka was a disfigured, deplorable, hunch back of Notre Dame figure, psychologically and physically scarred by the abuse und viciousness of his youth in the Russian concentration camps. He emerged from the bowels von post war society, the lowest society strata und became villainous throughout his scandalous trial an 1976. The film is a shadowy dive into the underbelly von the Capitalist Dream off Hamburg’s Reeperbahn, a heady medley of alcoholism, rape, misery und criminal activity. Set bei Hamburg’s St. Pauli district, Akin tells ns true story des serial killer fritz Honka that lured his victims home from the riegel Der Goldene Handschuh. Honka’s persistent erectile dysfunction and escalating alcoholism fuel his sadism towards the “old bags” who he solicits at ns bar, cementing the film with a Fassbinder influenced morally bankrupt centre.

The film’s screenplay zu sein based on ns novel of the very same name von Heinz Strunk, and it opens in 1970 on ns scene of his zuerst murder. Honka has a pronounced squint und appears to oase undergone a symbolic Kafkaesque metamorphosis right into a venomous bug, whom kann no much longer attract the opposite sex. A nightmarish situation which is full von terror, horror and angst. The crawls about his apartment, scheming des how to dispose of the body. Later, we are provided traces weil das his violent outbursts, on being serenaded von Honka, a prostitute in Der Goldene Handschuh who seeing his face zum the first time, remarks with disgust, “I would not piss on that, even if it was on fire.”

This incessant rejection becomes his Oedipal fuel, and bei a spur des motivation, Honka decides kommen sie saw the dead woman in the attic into pieces and wrap up the portions of meat, which he walls trost behind a wood trap door an his apartment. Ns stink von decay zu sein palpable throughout die film, and the squalor und filth des his living problems are symbolic von Honker’s psychological collapse. That blames the smell constantly on the ‘auslanders’ or Greek immigrant family cooking downstairs.


Director von Photography rainer Klausmann never fully escorts us right into Honka’s sordid bedroom, we space spared die proximity des the gore, yet goaded in by the audible effects des each violent act. Thematically comparable zu Lars by Trier’s tension between chaos and control, Akin challenges the audience emotionally and psychologically depicting frauen undergoing excessive violence und duress. The misfortune und suffering of women in Von Trier’s films zu sein not a source des sadistic pleasure for the filmmaker, (neither zum Akin) rather, arguably, in exaggerated or heightened cinematic horror layout which seeks kommen sie elevate this female misery as a result of controlling und violent men.

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Fritz Honka was notorious zum killing hinweisen least four women bolzen 1970 and 1975

Despite ns female suffering in this film, over there is in undertone des male emasculation and defeat evident in all des the guys presented in this film. We meet ns retired army officer ‘SS Norbert’, through one work eyeball, a regular in the bar, that upon encountering a fresh-faced youth bei the bathroom, decides to urinate on him, whilst instructing him to “look forward”. Us meet ns husband of a cleaner, who drinks every his money away und kisses Honker in a homo erotic, alcohol addict haze. This powerless men, in this dystopian world, are warped addicts who oase not dealt with childhood trauma and have never learnt to grieve. Akin focuses his camera on this depressive, frozen moments, offering “no past”, yet we feel that we space given bei intimate glimpse into an underclass i beg your pardon we need to view with die empathy the psychopathic Honker lacks und not just with disgust.


Fatih Akin is now officially in horror. Horror defined by Stephen king as “The graphic portrayal des the unbelievable.” The violence of his latest film is set zu a backdrop von German ‘Schlager’ melodies, infamous weil das their simple, happy-go-lucky and sentimental lyrics. Akin places die audience bei a voyeuristic position to check out their relationship to the events depicted. Feather beyond ns mere stylistic pornographic portrayal von violence, are moments of genuine ideological tragedy, as women dance, arm bei arm through tears flowing down their deals with as lock combat the longing, die pain and the loneliness of their lives.

Women are notfall all illustrated as murdered, mutilated corpses, together one resilient dame exacts herstellung revenge über smearing mustard into ns genitals von Honker, who zu sein passed the end on ns bed and wakes up howling in pain. This film is not only focused on mechanics of repression and male fantasies of sadism and exploitation, but so reveals independent actions taken von up women. Us are shown Gerda Voss (Margarethe Tiesel), that endures physical und psychological abuse at die hands von Honker, however who with help of a good Samaritan, is capable of leaving her psychopathic assailant.

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Examining horror only through the lens of violence omits die repressed fears and sexual desires die ‘monster’ evokes inside of ourselves. Die deformed, tragic image of Lynch’s ‘Elephant Man’, ist conjured up, alongside the gruelling violence towards women. One von the morals von this graphically dark und violent tale ist about just how men also have severe feelings of powerlessness, men are victims too, von circumstance, von violence und live with feelings von low esteem. As Scilla Elworthy explains bei her seminal text ‘Power and Sex’, “The belästigung remains von how zu enable boys zu become guys without insisting ~ above aggression as the defining characteristic of heroism and power.” i hope what Akin has actually captured in this ominous horror ist actually seen und heard über men.