Wim Wenders stands as a defining name of the powerful new German cinema that emerged in the 1970s. The traveling filmmaker has captured stories across Germany, the United States, Spain, France, Italy, Switzerland, Brazil, and Japan. In Barcelona, he appears as a guest at BCN Film Fest. This week he received a notable honor in the competition, and tonight he will meet with students at La Blanquerna at six in the evening. On Friday and Saturday, venues will screen Paris, Texas at Verdi Cinemas, with many other restored works from his foundation presented during the festival. Among them are Alice in the Cities, The American Friend, The State of Things, Sky Over Berlin, and Buena Vista Social Club.
Wenders turns seventy-seven today, and many audiences still remember his contribution to cinema through The American Friend, released forty-six years ago. For the producer, age is only a number; what matters most is who he is and what he does. He has not ceased making films since he released his first short in 1968. He often jokes that he hoped to feel older, but he kept working instead. The director of The Watch of Time remains aligned with the ideas that have made his work a touchstone. The era of renewal among European moviegoers in the 1970s feels real, echoed in the collaboration of his films with Herzog and Fassbinder, such as Aguirre, the Wrath of God and The Bitter Tears of Petra von Kant, which helped define a moment of cultural transformation in Spain as the country moved through its democratic transition toward broader cinematic success.
present and future
Time may pass, but the lens stays curious. How does Wenders interpret the present and what lies ahead? Looking back to the early years of the new century, he notes that events like the September 11 attacks reshaped the world, as did Covid and the period of confinement. He suggests that the search for truth and the sense of the common good have shifted for newer generations, perhaps felt less deeply than before. His upcoming projects reflect these ideas, including a film about the idea of peace. He believes that peace cannot exist without truth and that the common good requires peace. Cannes will feature not one but two films from him, with a sense of mystery about what lies therein. One project, Anselm, was shot in three dimensions, while Perfect Days is a drama set in Japan, and both promise a storytelling experience that remains remarkably unscathed by the usual studio trappings.
Wenders remembers two of the writers who helped shape his work. Peter Handke, who co-wrote early scripts and collaborated multiple times, provided a practical yet deeply creative collaboration, while Sam Shepard was described as a true traveling adventurer and a bold writer who contributed to a couple of films as well as a memorable acting appearance. Shepard’s dynamic personality, tall and wiry, with a fearless sense of exploration, cycling between travel and craft, left a lasting imprint on Wenders and his approach to dialogue and character.
The filmmaker also recalls the making of Paris, Texas in the mid eighties. He recalls considering Nastassja Kinski for the role of Jane and reaching out to her to begin practice for the Texas accent. The project has echoes of past collaborations, including a 1975 project that later evolved into So Far, So Close. Kinski was eager to embrace the accent, though some nerves were involved, and even Harry Dean Stanton felt the weight of rehearsal as the cast prepared to bring their characters to life. The process highlighted the importance of the right conversations and the right chemistry when bringing a story to the screen.
Wenders remains optimistic about the trajectory of cinema and society, expressing a hopeful view that only optimism can drive meaningful change in the world.