

Berlin, 1920. The Reichsmark hemorrhages value the way aristocrats hemorrhage heirs, and Joe May thrusts his camera into that arterial spray, letting every flickering frame of Die Herrin der Welt 6 – Die Frau mit den Millionarden drip with a liquidity both erotic and fiscal. Mia May’s Karen Lund does not simply ente...

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Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Uwe Jens Krafft

Uwe Jens Krafft
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" Berlin, 1920. The Reichsmark hemorrhages value the way aristocrats hemorrhage heirs, and Joe May thrusts his camera into that arterial spray, letting every flickering frame of Die Herrin der Welt 6 – Die Frau mit den Millionarden drip with a liquidity both erotic and fiscal. Mia May’s Karen Lund does not simply enter rooms—she liquidates them. A rustle of sable, a click of T-strap heels, and mahogany doors evaporate into options, warrants, call contracts. May orchestrates her body like a movi..."
Richard Hutter, Joe May, Karl Figdor
Germany


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