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His sculptures and installations also demonstrate a captivating coarseness that really demand ones physical presence.
While we do not get much detail about La Ribaute from the film, we do experience something else.
They came of age during the so-called years of silence, when Nazism and the Holocaust were rarely discussed.
Wenders responded by seeking escape, making road movies about dreamers, drifters, and depressives.
Kiefer responded by digging in, making art that refused to leave, either spiritually or physically.
(One shudders to imagine how such images would be received today.)
But even these are provided loosely, often sans context and in no discernible order.
They feel like another stray element tossed into the mix, not a through-line.
Wenders seems to understand that.
But we do not see much of the actual labor that goes into creating these canvases and sculptures.
This adds to the sense that they were born, not created.
This is unclean, messy work, and the film seems determined to highlight that.
This is art that dares to live in the world, andAnselmis itself a wonderfully alive work.
