In einem Jahr mit 13 Monden

"In a Year of 13 Moons" is a harrowing and brutal film that explores the themes of identity, human suffering and despair. Fassbinder's films, for the most part, are penetrating glimpses into the human condition at its most vulnerable. I really adore Ingmar Bergman's films, but they are considered "too pessimistic or depressing" for some, but my goodness, Rainer Werner Fassbinder's are bleak as night, often set in an unforgiving, cold and unreceptive world.

The film follows Elvira Weishaupt (Volker Spengler), a troubled and struggling transgender woman, who is wrestling with her identity. Fassbinder would construct the film through a non-linear narrative, that intertwines her many painful memories, her personal encounters, and the many philosophical thoughts and reflections on her life. Considered by many to be one of Fassbinder's most challenging and deeply personal films, and for good reason too. Fassbinder would make "In a Year of 13 Moons" in response to the suicide of his close lover, and this grief added to the intense and turbulent atmosphere that the film carries. The themes of rejection and despair are strong themes that drive the film, along with the search for love, and the pain and devastation of its absence. One of my favorite directors, Richard Linklater, would regard it as his favorite Fassbinder film. It is claustrophobic and very depressing, but for people who enjoy character driven dramas, then you may appreciate it.

As some others have written or implied this film is absolutely exhausting. It doesn't abandon its character or his life at any time although at times we almost WANT relief. Mahler's music in films has been dutifully noted. It can be almost as depressing in concert version. As for Nino Rota's "happy" music, or "life just continues (joyfully)" score, the irony isn't lost either. This is a one-man job and therefore takes risks that few producers or companies would tolerate under normal circumstances. I was profoundly moved by the film; I just don't plan to see it again for a while.

Curtis Stotlar

First of all, I would not call this a trans-or LGBT-themed film. Elvira, the main character, may have had trans surgery, but the plot makes it clear that they aren't a trans woman, that they made a mistake having the surgery. But it's also clear that the main character isn't a man, either-they are a person with a lack of identity. So it's a mistake to classify this one with the stories of trans men and women, it's about something very different.

Elvira's lack of identity surfaces in the fact that they can't remember their childhood at all, and when they search for details on it, the results are even more frustratingly ambiguous. They think that loving someone else gives them an identity, and it is this part of falling in love that they love the most-not so much being with another human being, but what it turns them into. That's why they undergo the surgery-because they think it will make them something when they are starting out as nothing. The surgery is just another turn of the screw for them-just another way of groping for an identity that isn't there. It's a much bleaker and more existential story than any trans-themed film I've ever seen.

The film leaves us with more questions than answers, which is how it should be. The characters speak in long monologues that raise lots of questions but no answers. They're more riddles than statements, and it's maddening. Maddening because the more Elvira searches for answers, the more they slip away from them. It's like a horrible taunt for Elvira, and we, in the audience, are not spared one moment of the terrible ambiguity of it all. Fassbinder's compositions add to the confusion, showing us a world that is as unclear to us as it is to Elvira.

For anyone going into this film looking for an LGBT story, you will be disappointed, as you will be if you like a story with a solid resolution. But for those who tolerate ambiguity and frustration-and, indeed, see how they can be virtues in art-you may well be dazzled and hypnotized.

I have to save my comments for later...I began watching this film last night and, as disturbing as the slaughterhouse scene actually is, I was only able to make it halfway through. I will return. It amazes me when a film disturbs me so much that I cannot watch it in one sitting. I had similar reactions to both Pasolini's "Salo" and to Cronenberg's "Crash".

But I'm curious to learn from anyone who might have a clue why Nino Rota's theme music from "Amarcord" (original orchestration) was put in this movie's first half and yet isn't credited on IMDb's list of "combined details".

Anybody who might offer some insight on this omission....thanks for posting it here....

In A Year With 13 Moons was directed rather late in director Werner Rainer Fassbinder's career, and in this film you almost get a whiff of life imitating art as you feel like you're watching the last days of Fassbinder as a director. In this film you can see the influence of films that Fassbinder admired, for example, Le Diable probablement, but In A Year With 13 Moons is bleak and impersonal in a way that the aforementioned film is not. It lacks the aesthetic obsession that French films often have and instead there is an emphasis on showing people and places as they truly are.

There are scenes that take place in darkened rooms where you almost get a contrived, science-fiction feel, and you're reminded that in all fiction the process of "world-building" occurs, but it's less obvious in contemporary drama because the viewer/reader is able to associate the names of places and people in the drama with real places and people, so the contrived nature and world-building are neatly tucked under the rug for no one to see. The film is remarkable in its tale of Elvira/Erwin who breaks up with her lover and then has to meet up with an old acquaintance after a misunderstanding. The actors totally inhabit their roles as they generally do in Fassbinder's films and this certainly is a testament to Fassbinder's brilliance as a director.

The primary weakness of this film is that it lacks naturalness and feels just a little too false, in contrast to, for example, Fassbinder's Fox and His Friends, which feels very natural. In A Year With 13 Moons is artsier, somewhat commedia-dell'arte-esque with its stereotypical characters, but after watching so many bad films recently this particular film felt like a breath of fresh air. A notable scene occurs at a butcher site or mechanical abattoir where cattle are being bled and slaughtered, which again was a little reminiscent of the scenes of environmental degradation in Le Diable probablement. In A Year With 13 Moons is a must-see. 8 out of 10.