Wim Wenders retire 'Faux Mouvement' – Dispute over nude scene with 13-year-old Nastassja Kinski

In the film, released in 1975 and considered Kinski's debut, Nastassja Kinski plays a mute, young acrobat. The controversial scene shows the actress topless while the character of the writer, played by Rüdiger Vogler, who was over 30 at the time, visits her in her room. Kinski was lying on the bed wearing only her underwear; Vogler's character hits her and then strokes her face. According to several sources, the scene lasts approximately two minutes.

Wenders' Appearance at the German Film Awards

In his acceptance speech on Friday evening, Wenders asked the German Film Academy to initiate a debate on how to handle controversial film works from the 20th century. He stated that the reactions of the past few days had sharpened his perspective on the events of that time. In a later statement, the director wrote: "The many reactions, suggestions, and conversations of the past few days have significantly contributed to further sharpening my perspective on the events of that time. For this, I am grateful."

In the same statement, Wenders publicly apologized to Kinski: "As the only one among those responsible for 'Faux Mouvement' at the time who is still here, I see that Nastassja Kinski should have been better protected back then. For this, I ask for your forgiveness, Nastassja, without any ifs or buts." The director also stated that retrospectively shortening a scene raises fundamental questions: "Can one shorten a film afterwards?"

Kinski's Lawyer Announces Legal Action

Kinski's lawyer, Christian Schertz, had already announced formal legal steps before the foundation's statement. Wenders had refused to speak personally with his client about the scene for years. Schertz welcomed the apology and the withdrawal of the film but described the step as "long overdue" and regretted that it only occurred after public pressure. "Furthermore, one must of course wait and see what the offer of dialogue specifically entails," Schertz said.

The actress herself had previously commented in the Süddeutsche Zeitung. She told the newspaper: "Although I didn't know much at 13, I already realized that it wasn't right." Kinski has been demanding for years that Wenders remove the scene from the film; she had also advocated for the film not to be completely banned but to be re-edited.

Criticism from the Film Industry and Cultural Sections

Feminist Alice Schwarzer had unequivocally demanded in the magazine Emma, which she founded: "Wim: Stop talking – and act! Finally cut those damn two minutes out of your film!" The 83-year-old thus criticized Wenders' attempt to elevate the debate to an abstract level.

In his speech in Berlin, Wenders had explained that he had made "a film in its time" and could not blame his past self. At the same time, he called on society to find "appropriate ways of dealing with controversial film works of the 20th century" and to face "new learning processes and perspectives." "It is necessary for our society to find appropriate ways of dealing with controversial film works of the 20th century and to face new learning processes and perspectives," he said.

This choice of words met with sharp criticism in the film industry and the feuilleton press. Film scholar Annette Brauerhoch said on Deutschlandfunk Kultur: "This is a very cleverly orchestrated move. Because he has distributed the responsibility, which actually lies with him, to thousands with this appeal to the public and the Academy." Brauerhoch welcomed the withdrawal of the film but opposed cutting the scene retrospectively, as the film is a historical document. At the same time, she emphasized that such a cut could be an important signal that actresses, as central co-creators of a film, deserve to be heard more.

Wenders' appearance was also sharply commented on in the supra-regional daily newspapers. Michael Hanfeld wrote in the Frankfurter Allgemeine Zeitung: "This is not about freedom of art and opinion, nor about film heritage (...). This is about the fact that a thirteen-year-old child is sexualized and dragged naked in front of the camera. That was wrong in 1974, and it would be wrong today." Claudia Tieschky formulated in the Süddeutsche Zeitung: "This was nothing less than a director, who appeared to be thoughtful, ducking his real responsibility in the imagined victim stance against some culture-threatening censorship machine."

There was also opposition from the acting profession. Rosalie Thomass called Wenders' appearance "shameful." Karoline Herfurth stated that she would have wished for Wenders to publicly admit that he had not adequately protected a 13-year-old child at the time. Clemens Schick criticized that Wenders had elevated the debate to an abstract level of censorship and film heritage. Lavinia Wilson, on the other hand, welcomed that Wenders had addressed the issue publicly and wished for a thorough debate about how to deal with the scene and Kinski's wishes.

Context: Nude Scenes with Minors in Film History

Kinski is not facing conflict over a nude scene from her youth for the first time. In 1977, she played a schoolgirl in the Tatort film 'Reifezeugnis,' directed by Wolfgang Petersen, who was having a relationship with her teacher. Lawyer Schertz confirmed that in this case, an out-of-court settlement was reached with NDR, without disclosing details.

Wenders and Kinski worked together two more times after 'Faux Mouvement': in 1984 in 'Paris, Texas' and in 1993 in 'Faraway, So Close!'. 'Paris, Texas' won the Palme d'Or at Cannes and is considered one of the major works of the New German Cinema.

The foundation stated that the film will only be re-released when an agreement is reached – "even if it takes longer, and after we have been able to present an agreed-upon solution, including in consultation with Nastassja Kinski, we will release the film again." A "broad exchange" is planned with the German Film Academy, the DFF – German Film Archive & Museum, and other film heritage institutions and intergenerational groups.

The case sheds light on how film works depicting minors in intimate or sexualized contexts are handled. Similar debates had previously been triggered by films such as Louis Malle's 'Pretty Baby' (1978) with Brooke Shields, then twelve years old, Shields and Christopher Atkins in 'The Blue Lagoon' (1980), or Zeffirelli's 'Romeo and Juliet' (1968). Actress Maria Schneider also later publicly stated that she felt violated and "a little raped" by a scene in 'Last Tango in Paris' (1972). Today, strict protection rules apply to productions involving minors, including the presence of guardians, explicit parental consent, and specially trained intimacy coordinators.

What's Next for 'Faux Mouvement'?

The question of how to deal with such historical films also concerns other directors. Steven Spielberg replaced firearms with walkie-talkies for the 20th-anniversary re-release of 'E.T.' (1982) but called this intervention a mistake in 2023: "It was a mistake. I should never have done that. E.T. is a product of its time. No film should be altered because of the perspectives through which we view the world today, voluntarily or involuntarily." Meanwhile, Disney cut classics like 'Aladdin' and 'Lilo & Stitch' for re-releases and Disney+, Ridley Scott released a new cut of 'Blade Runner' in 2007, George Lucas re-edited the original Star Wars trilogy for its 20th anniversary, and Stanley Kubrick removed a scene from 'The Shining' just a week after its theatrical release.

With works such as 'Wings of Desire,' 'Buena Vista Social Club,' and 'Perfect Days,' Wenders is among the most internationally renowned German directors. The foundation's decision to temporarily withdraw 'Faux Mouvement' marks a rare step: a world-class director is withdrawing his own work due to a scene that a now-famous actress has described for decades as a violation of her vulnerability as a