One wonders what Ingeborg Bachmann — the celebrated Austrian poet, author, linguist and thinker who became a darling of the midcentury, continental European literary set — would make of the staunch…
— who among us would not be? She might be gratified by the occasional mention of one of her poems or lectures, and the nice amber tinge to Martin Gschlacht’s stately photography. Or she might be justifiably miffed that for all she achieved across a glittering, eccentric literary career, it is her rocky personal life and the men who rocked it, that are the film’s sole, stultifying focus.
Some years earlier, Bachmann is in Paris at the opening of a new play by Swiss writer Max Frisch . A besotted Frisch has arranged to meet the already famous poetess, who looks resplendent in an off-the-shoulder pink taffeta number . Over the course of the evening they wander the city, drink in a cafe and fall in love on a bridge, largely, apparently, because they can both recite the same poem.
Bachmann is far happier in Rome, where she is working on the libretto for an opera with dashing composer Hans-Werner Henze . But when Frisch joins her, and is relegated to the role of his famous girlfriend’s plus-one, the end is nigh . Meanwhile in the future, Bachmann has a group-sex romp with Opel and a couple of hot young locals, and decides she likes the desert a lot.
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