Plots(1)
The Dumpster Kid (Kristine de Loup) grows from a placenta. Dr. Wohlfahrt from social services finds her on a hospital rubbish dump. In subsequent episodes, she looks for foster parents to take responsibility for the kid and integrate her into society. Dumpster Kid goes to school and to church. Always dressed in a red dress and red tights, she is nosy about everything, asking a few too many questions and taking whatever she desires. She steals and has sex, seducing some and humiliating others. She meets Al Capone and d’Artagnan. She is always in danger, yet immortal. (Berlinale)
(more)Reviews (1)
"Papa's Cinema is dead." If New German Cinema with Reitz had to attack Papa's Old Cinema in the first place, even though his name was never and will never be carved on the monuments of film history in one of the first places, it had to attack the father himself – both the film and the new Germany have to be born without fathers. West German neo-corporatism and welfare state, in which everyone has their place in the structure of the economy and in which prerogatives are ideally transferred from father to heir while ideally preserving or most ideally appreciating family wealth, are falling apart – here, society, the individual, and film start at the very bottom, at the zero level, the starting point. A new film and a new person have no place, no history of their own, and they make themselves as best they can: and yet they can't when society operates on different principles. What remains is only the ghost of the unassimilable, indivisible residue, the waste of society, remains, wandering the world and constructing its reality through its unreality.
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