After half a century of making films, the director is back on form with The Salt of the Earth and shows no signs slowing down
Wim Wenders is responsible for some of the most profound films made about America – quite a feat considering he doesn’t have a drop of starred-and-striped blood in his body. Paris, Texas is the obvious example: a western in mood and iconography, no matter that it is set in 1980s Los Angeles. It won the Palme d’Or at Cannes in 1984 and remains the director’s masterpiece. In that film, and many others, he showed the world what America looked like, and helped America to see itself through foreign eyes. Even those pictures not set in the US – such as the great 1970s road movies Alice in the Cities and Kings of the Road, which made Wenders an arthouse darling – explore the influence, the voodoo romanticism, that America exerts beyond its borders.
Wenders turns 70 in August and is rightly the focus of celebration. At the Berlin film festival in February, he was presented with a lifetime achievement award. A month later, the Museum of Modern Art in New York presented a retrospective of his work. Such honours can sometimes serve as a kind of unofficial interment, but Wenders is as alert and indefatigable as ever. Two exhibitions of his photography have already been staged this year. He has a new film about to be released – The Salt of the Earth, his Oscar-nominated documentary about the photographer Sebastião Salgado – and another that premiered in Berlin this year. That was Every Thing Will Be Fine, a drama about the effect of a road accident on the life of a novelist played by James Franco. Unusually for an intimate story with no special effects, it was shot in 3D, a format Wenders used previously to sensual and pioneering effect in Pina, his documentary about the dancer and choreographer Pina Bausch.
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Reported by guardian.co.uk 22 hours ago.