Friday, July 6, 7 p.m. Episode 1 (“Jochen und Marion” 101 min.)
Friday, July 6, 9 p.m. Episode 2 (“Oma und Gregor” 101 min.)
Ticket for Friday, July 6th is valid for the showing of Episode 1 at 7:00 p.m., and Episode 2 at 9:00 p.m.
Saturday, July 7, 6 p.m. Episode 3 (“Franz und Ernst” 93 min.)
Saturday, July 7, 8 p.m. Episode 4 (“Harald und Monika” 91 min.)
Ticket for Saturday, July 7th is valid for the showing of Episode 3 at 6:00 p.m., and Episode 4 at 8:00 p.m.
Sunday, July 8, 5 p.m. Episode 5 (“Irmgard und Rolf” 90 min.)
Shot for West German TV in 1972 and aired in five parts, Eight Hours Don’t Make a Day marks Rainer Werner Fassbinder’s transition from “enfant terrible” to powerful voice in New German Cinema. Influenced as much by filmmaker Douglas Sirk as the radical politics of the time, Fassbinder (1945–1982) upended expectations, depicting social realities from a critical perspective.
This five-part miniseries tracks the everyday triumphs and travails of a young factory worker (Gottfried John) and the people populating his world—including his girlfriend (Hanna Schygulla), his eccentric family, and his fellow workers, with whom he bands together to improve conditions on the factory floor. Aside from its original German broadcast, Eight Hours has rarely, if ever, been seen—and certainly not in the United States. The new 2K digital restoration was created using the 16mm reversal positive, which was digitized and restored by the film company ARRI, under the artistic direction of noted film editor Juliane Maria Lorenz.
“Eight Hours Don’t Make a Day is Fassbinder’s true pièce de résistance . . . May be the most remarkable title in the German enfant terrible’s oeuvre.” —Film School Rejects
“Here is a work that—in the generosity of its scope and the sophistication of its staging—makes Fassbinder look more inventive than just about any filmmaker working today.” —New York Times
“It stands out in his filmography as not only his second-longest effort, after Berlin Alexanderplatz (1980), but also his most empathetic, with depictions of working-class people, their daily struggles and even little moments of redemption, making the show immediately relatable and entertaining to mass audiences.” —Film Comment