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The Night of the Four Moons

Director: Jörg A.EGGERS
Camera: Tom PINTER
Author: Laura C.FEUERLAND, Jörg A.EGGERS
Cast: Kathina KAISER, Günther Maria HALMER, Gunnar MÖLLER, Sylva KOSCINA
Crew: Musik: Roland BAUMGARTNER, Kostüme: Ksenija JERICEVIC, Schnitt: Damir GERMAN, Architekt: Zeljko SENECIC, Maske: Fava STEFANO, Herstellungsleitung: Günther KÖPF
Year: 1983
Crime (102 min.)

In short
This film is about the inability to develop healthy emotional relationships. The situation is comparable to that of moons, where despite of attraction, approach leads to destruction.

This film illustrates the nature of a dominant type of relationship. The inability to allow closeness and love, can lead to perverted and fragile configurations, which the individuals involved perceive as fate.

Harald Leupold-Löwenthal’s comment on the film

The title of the film is symbolic for the theme. The main characters experience themselves as distant, rather moon-like, yet bonded by the forces of attraction and hateful repulsion. A break-in into a house triggers the collapse of the social configuration of three people, who seem inevitably caught up in a sadomasochistic relationship.
Marco, broke into a house searching for valuables. He got caught by Nadine, whom he found disabled in bed. Marco was spellbound by Nadine, who claimed to be the victim of her sister’s attempt on her life. After having fallen from the cupola of a circus tent she forced her guilt-ridden sister to take care of her. Nadine’s former lover married her sister, but was resentful of his financial dependency. He too felt guilty for having betrayed Nadine. This was at least the story Nadine presented to Marco.
Marco allowed Nadine to manipulate him into the role of a saviour. When the sister and her husband return Marco had to hide. Then he witnessed a revealing argument and realised that he got caught up in a bundle of lies, fantastic interpretations and complex fictitious relationships. The “paralysis” was the simulation of a narcissistic and hysteric individual. A fact also known to the sister. However, she played the game in order to secure her position in this infernal threesome. Marco’s pistol turned into a tool of hatred as Nadine liquidated her sister and former lover as he tried to escape.
Close to madness, Marco felt “paralysed” as Nadine tried to tie him to the house. As she declared her love, he killed her.
The beginning of the film shows the end of the story. The only hopeless way out for a man who has become victim and perpetrator is to retreat from reality, a psychosis. Thus, he carved into the sand: Follow the path to the end, where you started from. There you will catch up with the bullet, which you have sent to kill you.

Harald Leupold-Löwenthal
President of the Sigmund Freud Foundation
University professor for psychotherapy and psychoanalysis

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