Fassbinder’s 38th film was made near the end of his tragically short career. Made as a reaction to the suicide of the director’s former lover, Armin Meier, it follows the last few days in the life of transsexual Erwin/Elvira, paying one last visit to people and places with personal meaning. Probably the most intensely personal film Fassbinder ever made, its brutal honesty has caused it to be described as a film which makes Salo look like Mary Poppins. “Its only redeeming feature is genius” (Vincent Canby, The New York Times) David Hare

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