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The camera loved her face, it was made for close-ups. And Romy Schneider loved and needed the camera - the film camera as well as the cameras of photographers and paparazzi. Julia Benkert's cinematic exploration of Romy Schneider's many faces shows that the actress's fascinating camera presence has lost none of its intensity even 27 years after her death - regardless of whether she was stylized as a veiled bride and glamorous diva, as in the French film "L'enfer" (1964), or whether she exposed herself to the camera without make-up, as in Hans Jürgen Syberberg's documentary "Portrait of a Face" (1966). Without make-up and in close-up, she talks about her fears and doubts - to this day, the film is an authentic testimony to Romy Schneider's deep inner turmoil. Her husband Harry Meyen had it extensively censored because he thought his wife was too sad.
Director
Writer
Status
Released
Original Language
DE
A girl called Hannah goes back to her hometown (Gatlin) to find her mother but on the way she picks up a strange man who fore-shadows her life with a passage from the bible. When she gets there she wakes up Isaac from a coma he has been in for 19 years. Isaac is awake and wants to fulfil the final prophecy.
