Wenders coupe une scène de nudité avec Nastassja Kinski

Wim Wenders has agreed to remove a nude scene featuring actress Nastassja Kinski from his 1975 film False Movement, ending a long-standing dispute between the two. According to a joint statement released today by the Wenders Foundation, both parties have reached a resolution. Wenders has apologized to Kinski and fulfilled her request to cut the controversial sequence from the film. The decision follows years of tension over the scene, which Kinski had repeatedly asked to be removed. The scene in question shows Kinski, then 13 years old, with bare upper body, wearing only underwear. In the footage, she is struck by a man and then touched on the face. Kinski, now 65, claimed she had been requesting its removal for several years. She reportedly sought legal action against Wenders, hiring a lawyer to pursue formal proceedings. The incident has sparked ongoing debate about artistic freedom versus personal boundaries, particularly concerning the portrayal of young performers. In June, the film False Movement was temporarily withdrawn from public access. Streaming platforms, television channels, and distribution partners were instructed to remove the film from their catalogs. This move came after Wenders himself called for an apology, though he did not specify whether it was directed toward Kinski or the broader public. The temporary withdrawal reflected the growing pressure on the film’s availability due to the controversy surrounding the scene. The joint statement issued by the Wenders Foundation emphasized the desire to restore the film's legacy without the shadow of this conflict. It noted that both parties share a wish to preserve the memory of False Movement as a work of art rather than a point of contention. The foundation also highlighted the importance of maintaining a respectful relationship between Wenders and Kinski, who have been friends for decades. The decision to edit the scene marks a significant shift in how the film will be presented moving forward. While some versions of the film may still exist in private collections or archives, the publicly available copies will no longer include the controversial sequence. This change aligns with increasing awareness of ethical considerations in film production, especially regarding the depiction of minors and the consent process during filming. The resolution comes amid broader discussions within the film industry about accountability and historical context. Many artists and critics have revisited False Movement in recent years, examining its cultural impact and the ethical implications of its content. The case has become emblematic of the challenges faced by filmmakers when dealing with past works that raise uncomfortable questions about representation and power dynamics. As the film is no longer widely accessible, the focus shifts to its legacy and how it will be remembered. The collaborative effort to address the issue reflects a willingness to confront difficult histories, even when they involve prominent figures in the arts. Whether this step will lead to further changes or serve as a final resolution remains unclear, but the agreement between Wenders and Kinski represents a tangible attempt to reconcile past tensions.