Naked scene with Kinski: The Wender case and the bad conscience of film history

The controversy surrounding filmmaker Wim Wenders has resurfaced after decades, reigniting discussions about the exploitation of young women in cinema and the ethical responsibilities of artists. At the heart of this debate lies a scene from his 1975 film Falsche Bewegung, which features then-teenager Nastassja Kinski partially nude. The incident has sparked outrage among critics and members of the public, particularly following recent remarks by Wenders during a ceremony where he refused to remove the scene upon request by Kinski herself. Wenders, who is now an elder white man, was once a young white man who used a girl for his cinematic vision, capturing her in a state of partial nudity—whether against her will or at least against her feelings. This act, according to critics, should have been avoided even back then. However, Wenders' current refusal to engage in dialogue with Kinski regarding the removal of the scene from the film has been deemed scandalous. Instead of taking personal responsibility, he deflects by citing the era's norms and the cultural significance of the film, suggesting that the decision should be left to institutions such as the German Film Academy. His reluctance to address the issue directly has fueled further criticism. The controversy raises questions about why it took an outcry at a recent awards ceremony to bring attention to the scene featuring Kinski’s underdeveloped breasts. Some speculate that it might be due to the general disinterest in film history among the public, while others suggest that today's ubiquity of images of naked bodies makes them less shocking. Regardless, the situation highlights broader issues concerning the preservation of film heritage and how societal attitudes toward nudity and sexuality have evolved over time. In the mid-1970s, there was a segment of society, especially within politically progressive circles, that viewed the sexualization of children as part of a larger movement towards emancipation and enlightenment. Alternative child care centers and leftist groups circulated literature advocating for the normalization of adult-child interactions, including physical intimacy. One notable text translated from Swedish into German was “Alle Macht den Kindern” by Frances Vestin, which argued that children could learn about eroticism and sexual activity before they understood reproduction. It suggested that it was valuable for children to engage in intimate activities with adults, even if it included actual sexual contact. This historical context complicates the current discourse around Wenders and Kinski. It prompts deeper reflection on what these times were really like. Why did it seem so natural for young Wenders to film this scene? Why did the jury of the German Film Prize award the film six gold prizes, including for direction, screenwriting, cinematography, and overall performance? Why did director Wolfgang Petersen later reuse the image of Kinski in a Tatort episode two years later? And finally, why did the underage Kinski feel compelled to participate again despite her discomfort? These questions underscore the complex interplay between artistic expression, social norms, and personal agency. While Wenders may have had no intention of discussing the matter publicly, the shame associated with outdated societal practices remains significant. As the debate continues, it appears that the true challenge lies not just in removing a single scene but in confronting the broader implications of past behaviors and their impact on individuals and culture alike. What comes next remains uncertain, but the conversation has clearly entered a new phase, one that demands more than mere technical adjustments to films of the past.