The Bitter Tears of Petra Von Kant

“Oh, do we have The Bitter Tears of Petra Von Kant? We do indeed. Oh my God. Okay, so this film, first of all, it takes place all in one set and the set is perfection. She's Petra is on the bed and she's in love with this younger woman and she's just all kinds of everything. Behind her is this like blown up mural of this flower and it's just so grandiose and it's tragic, bless her, Petra, bless her, she's just looking for love.”

“I can find a lot of Rainer Werner Fassbinder movies that I really like. I really like The Bitter Tears of Petra Von Kant. I think I will pick that one.”

“I cannot believe that I did not speak about The Bitter Tears of Petra Von Kant or that I did not speak about Rainer Werner Fassbinder at all... Andy Warhol says all art is copy. And I think probably no one knew that more than Rainer Werner, who was in conversation with the entire history of Germany and of cinema in such a beautiful way. It was also this time when there were groups of people who could make art together in a community... And this is a Testament to that.”

“And The Bitter Tears of Petra Von Kant, you know how much I love this movie. Most incredible visuals. Every frame is like a fashion image. It's just like it's so incredible. I mean I've seen Petra von Kant like at least 20 times.”

“Bitter Tears of Petra von Kant. This film has one of the most astonishing transformations on screen. It’s kind of the equivalent of seeing David Jones and then, over the next 20 minutes, him methodically making himself up to become Ziggy Stardust or David Bowie. The way that it starts off, Petra von Kant is waking up. After that point on, she’s basically, like, a Mesopotamian goddess for the rest of the film. As someone who’s in the rock sort of heritage, it’s been a major moment for me.”