Nastassja Kinski – in the Höllenschlund of the men’s power

And then she strikes. A dozen film excerpts made director Marie-Gabrielle Fabre together, in which Nastassja Kinski is sexually forced. A dozen attempts to rape the minors. A dozen cinema scenes of habitual contempt for women, against which there were no storms of protest almost 50 years ago, but for which there were prices. Before the Arte portrait “History of a Liberation” also deserves its title, it lends short versions of patriarchal circumstances into each other uncommented, of which half children once gave themselves helpless-until it reaches for a stone on the ground and slows down their tormentors.

Finally! Rarely was self -defense as appropriate as with the rise and fall of Nastassja Kinski, who turns out to be a case and ascent. The second daughter of the German world star Klaus Kinski was finally born into the patriarchal violent relationship of those days in 1961 and remains caught in it for almost two decades. While her half -sister Pola later raises rape against her own father, Nastassja Aglaia Nakszynski is spared sexual abuse. Before the narcissistic choleric, she says out of the off, “everyone was afraid”.

And this fear apparently continues. With a variety of talk shows and interviews that Fabres Cutterin Anna Brunstein elegantly mixes under film sequences and festival appearances, we experience a girl who becomes the decorative game ball of her time. An era in which mighty film and television guards degrade women at will to be pleasing accessories acting heroes. There was therefore hardly any role profiles between saints and whore, mother and affair, cleaning lady and housewife – especially not for Nastassja Kinski.

Already the silent artist of her first role in Wim Wenders Goethe adaptation “False Movement” must be childish and grown up at the same time in 1975, innocent and wicked, so anything but age-appropriate. A balancing act for which the 13-year-old is forced to do. Whether as a school child who indicates the teacher in the “crime scene”, as a teen who gains erotic experiences in soft porn “passionate floral”, or as a student who falls as an old Marcello Mastroianni in incest drama “Così come”: with every work she slips more deeply into the subject of the underage femme.

And expressly against their will. “I just did what one asked for,” says Kinski about her existence as an early -ready sex object of a supposedly liberated era, which continues to make prisoners. Women above all. Preferably young, beautiful, mysterious, to whom you can arbitrarily put on characters who are as durable as the stamp on their drawer. They are a childfriend with sex appeal for years. A hell throat.

Also of legal age, she finally puts it so deep in the misogynic occupation profile that Roman Polanski grants her title role in the historical drama »Tess« short -haired self -assertion. At the same time, however, the 18-year-old becomes a lover of the mid-forties, who had just been convicted of sexual intercourse with a minor and, to avoid further law enforcement, who left the United States. She apparently had the legacy of her overpowering father under control as well as the industry, in which she became a world star against the sake. Albeit not forever.

Because shortly afterwards, the “history of a liberation” picks up and documentary. Of all things, Wim Wenders, who had paved her way in Papa’s hated profession, first occupied it in 1984 against the patriarchal line. The main character in the award -winning road movie »Paris, Texas« therefore not only plays its attractiveness in the shade; She also has a younger lover. And if you follow Nastassja Kinski’s statements at Arte carefully, you will notice: That was your decision.

Deep in the enemy of Harvey Weinstein’s men’s power to Gérard Depardieu to Dieter Wedel, this empowerment would have earned more than 54 minutes of documentation of this unprecedented freedom fighter. A woman of 64, who was an apparently helpless object in the first third of her career and was able to free herself from the yoke of sexual oppression on her own. So far, Nastassja Kinski has been more of a marginal figure in the #Metoo debate. This film could change that.

“Nastassja Kinski-History of a liberation”, 18.8., 11.30 p.m., Arte (and from August 11th in the Arte Mediathek)