egon schiele death and the maiden movie review

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Egon Schiele: Death and the Maiden

Vienna, early 20th century: the young Egon Schiele is one of the most discussed artists of his time with his original, erotically charged works. Vienna, early 20th century: the young Egon Schiele is one of the most discussed artists of his time with his original, erotically charged works. Vienna, early 20th century: the young Egon Schiele is one of the most discussed artists of his time with his original, erotically charged works.

• Dieter Berner
• Hilde Berger
• Noah Saavedra
• Maresi Riegner
• Valerie Pachner
• 8 User reviews
• 20 Critic reviews
• 6 wins & 7 nominations

• Egon Schiele …
• Gerti Schiele …

• Wally Neuzil …
• Edith Harms …
• Adele Harms …
• Moa Mandu …

• Anton Peschka …

• Gustav Klimt
• Richter St. Pölten

• Varieteédirektorin …

• Arthur Roessler
• Tatjana von Mossig
• Rechtsanwalt …

• Dr. Haldenwang
• Mutter Schiele …
• Vater Schiele …
• Carl Reininghaus
• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia The trailer for the movie was blocked on Facebook for the reason of nudity.
• Goofs During several closeups it can be seen that Noah Saavedra (Egon) and Valerie Pachner (Wally) are wearing contact lenses. The distinctive transparent rings around the irises are clearly showing.

Egon Schiele : You can't buy art. Art is invaluable.

• Connections References Der Hirt von Maria Schnee (1920)

User reviews 8

• killercharm
• Aug 1, 2020
• How long is Egon Schiele: Death and the Maiden? Powered by Alexa
• October 7, 2016 (Austria)
• official site
• Official site (Germany)
• Egon Schiele: Ölüm ve Bakire
• 101 Hietzinger Hauptstrasse, Vienna, Austria (Schiele's Atelier exterior)
• Novotny & Novotny Filmproduktion GmbH
• Amour Fou Luxembourg
• Ulrich Seidl Film Produktion GmbH
• See more company credits at IMDbPro
• €4,700,000 (estimated)

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• Runtime 1 hour 50 minutes

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Tv/streaming, collections, great movies, chaz's journal, contributors, death and the maiden.

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It is a dark and stormy night. In an isolated house on a deserted landscape, a woman waits alone. The opening moments of "Death and the Maiden" are so intriguing that almost any continuation would be a disappointment - but movies have to be about something, and so slowly the purity of the situation settles down into the business of the plot. But not before the woman, played by Sigourney Weaver , has made an indelible impression.

She is angry and deeply troubled. She is expecting someone, and has a chicken in the oven and a bottle of wine prepared. Then she hears a news bulletin on the radio, and her mood turns to rage. She eats her own dinner, savagely jabbing it with a knife, and dumps the rest in the garbage. She is acutely aware of the night outside. When the man she is waiting for appears, he has been given a lift by a stranger. She conceals herself in the bedroom, and pretends to be asleep. The two men talk and drink. She creeps out into the night, steals the stranger's car, and drives away.

The visitor is distraught to have his car taken - to be marooned, in thanks for his good deed. The two men sit on the steps and continue their conversation. One man is her husband, Gerardo Escobar ( Stuart Wilson ). The other is a neighbor named Dr. Roberto Miranda ( Ben Kingsley ). The men become friendly, confiding. It is very late, there is no way to leave the house, and so the visitor agrees to bed down on the couch in the living room. He seems drunk, convivial, but the moment the husband disappears a chemical change seems to take place, and he is thoughtful and self-possessed.

He goes to sleep. The woman approaches the house quietly, steals into the living room, and is able to surprise the visitor and tie him up before he can resist. She believes he is a torturer - the man who raped her 14 times when she was a political prisoner. She never saw him, because she was blindfolded, but she knows his voice, his way of using little phrases like "itty bitty," and even his smell. She knows it is him.

That is the setup for Roman Polanski's film, based on the play by Ariel Dorfman. In the movie's long night of the soul, the man, bound to a chair, will protest his innocence. The woman will jeer at him and cross-examine him. And her husband will waver first in one direction and then in the other, because this Dr. Miranda is a charming man and a very intelligent one, and if there is a way for him to talk his way to freedom, he will find it.

"Death and the Maiden" is said to be based on events in Chile, but it could take place in any of the many countries where rule is by force and intimidation. It is, to some degree, about actual guilt: Is this the man who raped and tortured her? To another degree, it is about the nature of guilt and human identity: If this is the same man, has he perhaps changed? Was he a product of the times - even a victim of the times, which forced some to be torturers no less than requiring others to be victims? If he is guilty, does he repent? Is there forgiveness for his crime? Does the woman, by making him a captive and taunting him, descend to his level? Is her husband in some way caught up in a male bonding with this man against women - an instinctive camaraderie that requires him to join forces with any man against any woman? All of these questions lurk tantalizingly under the surface of "Death and the Maiden," making it richer than its materials might promise. The story is not about whether this is the same man who tortured her, but about the question: What then? There is even the subtle suggestion that - if he was the man - he was not as cruel to her as he might have been, might even have shown her some twisted kindness, during those dark days when an evil society forced captors and their prisoners to enact the rites of torture.

Yes, and it is even more complex than that. Because the whole story leads up to a long monologue by the doctor, brilliantly delivered by Ben Kingsley, so that we must answer not only the question of his guilt or innocence, but the question of its meaning.

By the time the film arrives at its answers, they have become questions. The most difficult question is, how must we punish the evil? If a man kills, must he then be killed? The most compelling argument against capital punishment, for me, is not that society should not execute, but that society should not make anyone into an executioner.

"Death and the Maiden" is all about acting. In other hands, even given the same director, this might have been a dreary slog.

Kingsley makes it come alive with his insinuating performance as the accused rapist: He makes his character so smart we have a certain admiration for his struggle. He is powerless, except for his wits, but they are formidable. The logic of the story places him at its center, but without the Sigourney Weaver performance it would still probably not work. There must have been the temptation to play up the rage of her character, but she brings so many other colors to this woman. There are times, during the dialogue, when we feel we have almost been transported back through time to the actual events she remembers.

What of the third character, the husband? Played convincingly by Wilson as a man who would genuinely like to know the truth, he is a surrogate for us: A jurist who will chair a panel to get to the bottom of those tragic years. But his wife knows (and the man strapped to the chair knows) that no panel can answer, or understand, the nature of the situation. Only the torturer and the tortured have shared that information, and perhaps only by changing places can they understand it. Always assuming, of course, that she has strapped the right man to the chair.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Death And The Maiden (1995)

Rated R For Strong Language, Including Descriptions Of Violent Situations

100 minutes

Sigourney Weaver as Paulina Escobar

Ben Kingsley as Dr. Roberto Miranda

Stuart Wilson as Gerardo Escobar

Directed by

• Roman Polanski

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Egon Schiele: Death and the Maiden

Where to Watch

Noah Saavedra (Egon Schiele) Maresi Riegner (Gerti Schiele) Valerie Pachner (Wally Neuzil) Marie Jung (Edith Harms) Elisabeth Umlauft (Adele Harms) Larissa Breidbach (Moa Mandu) Thomas Schubert (Anton Peschka) Daniel Sträßer (Dom Osen) Cornelius Obonya (Gustav Klimt) André Jung (Richter St. Pölten)

Dieter Berner

Vienna, early 20th century: the young Egon Schiele is one of the most discussed artists of his time with his original, erotically charged works.

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'Egon Schiele: Death and the Maiden': Zurich Review

By Fionnuala Halligan, Chief Film Critic 2016-09-27T20:03:00+01:00

Dir. Dieter Berner. Austria/Luxembourg/Germany, 2016, 109 mins.

A conventionally-framed and -shot biopic of a most unconventional man, Egon Schiele: Death And The Maiden draws the short life of the Viennese artist with a tastefully flat line. Workmanlike, if palpably well-nourished, Dieter Berner’s film sets about Schiele’s life with stolid determination; each stocking is correctly-coloured, every knickerbocker is the finest of silk. While this film is notable for the appearance of young Austrian actor Noah Saavedra in his first leading role, the tragic Schiele never really emerges fully-breathing from cinema’s tortured-artist ghetto; this most erotic of painters is the focus of a strangely unsexy film.

Berner’s film is as tasteful as the artist was confrontational when it comes to addressing his sexuality head-on

Vienna’s Secessionist movement has undergone a huge resurgence in popular appeal through record prices achieved by Gustaf Klimt (Schiele’s mentor), Schiele and his Expressionist counterpart Oscar Kokoschka. That, and the vague knowledge of their racy private lives will be sufficient to attract curious international viewers on home viewing platforms following the film’s premiere at Zurich and a repeat showing in Pusan; theatrical consumption should be solid at home in Austria and in other co-production territories.

Using a standardised flashback format, Egon Schiele: Death And The Maiden – named after the artist’s haunting masterpiece – starts in wartime Vienna of 1918 where Schiele’s sister Gerti (Maresi Riegner) is seen breaking down the door to an apartment only to find Egon’s pregnant wife dead of Spanish Flu and his own life in peril.

The film then drops back to 1910, 1911 and 1914 for interludes which will bring us repeatedly back to this point as Gerti searches for black-market quinine to save her brother.

Egon Schiele’s highly eroticised work was shocking in turn-of-the-century Vienna, and still raises pulses through the briefest of haunting brushstrokes. Berner’s film is as tasteful as the artist was confrontational when it comes to addressing his sexuality head-on – whether it be through highly eroticised imagery, the allegations of incest with his sister, or the the insinuations that he preyed on children.  Imagery here is restrained, certainly not enough to raise anyone’s pulse, onscreen or off.

Schiele is initially shown frequenting theatres which show nude tableaux vivants in the Prater district and he forms a liason with the black model Moa (Larissa Breidbach). Sex itself, though, doesn’t seem to motivate him. Schiele also tries to set up the Krumau Artists Colony, although they are all too prettily debauched to make it work.

In Vienna of 1911, Schiele meets the 17 year-old Wally (Valerie Pachner) when she models for the lecherous older artist Klimt (Cornelius Obonya). Thus begins a liason which is positioned as the artist’s one real love. Latter segments from 1914 shows the freewheeling Schiele encountering the wealthy Viennese sisters Edith (Marie Jung) and Adele (Elizabeth Umlauft). Much is made of the fact that Edith is under-age.  It all, as we know, ends badly for everyone concerned.

Egon Schiele: Death And The Maiden wastes no opportunity to break out the paintbrushes for an art biopic cliché – painters wander around in smocks staring intensely at young women in stockings and garters; art groupies spin by faster than your average Picasso biopic (this is the second cinematic run at Schiele;  the first, 1981’s Excess and Punishment, featured Jane Birkin in the Wally role). Nobody opens their legs, however, either emotionally or physically - and that, after all, was Schiele’s stock-in-trade. But times have changed, perhaps. Andre Dziezuk’s viola-heavy score is as tasteful and restrained as the imagery on-screen.

Production companies: Novotny & Novotny Film Production, Amour Fou Luxembourg

International sales: Picture Tree International, [email protected]

Producers: Franz Novotny, Alexander Glehr, Bady Minck, Alexander Dumreicher-Ivanceanu

Screenplay: Dieter Berner, Hilde Berger

Cinematography: Carsten Thiele

Editor: Robert Hentschel

Production design: Gotz Weidner

Music: Andre Dziezuk

Main cast: Noah Saavedra, Maresi Riegner, Valerie Pachner, Marie Jung, Larissa Breidbach, Valerie Pachner

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Review by You Li

Egon schiele: death and the maiden 2016 ★★★.

Watched Nov 20 , 2017

You Li’s review published on Letterboxd:

A biopic of Austrian painter Egon Schiele (1890-1918), what instantaneously catches our eyes is the pulchritude of its leading actor Noah Saavedra, whose Adonis appearance becomes almost too distracting for the movie’s own good, but it shouldn’t take the credit away from Saavedra’s immersed embodiment of the ill-reputed expressionist, who leaves a vast legacy to this world after his own ephemeral and turbulent life.

After opening the picture with a frenzied sequence of some sort of familial turmoil and envisaging a moribund Schiele smitten with the Spanish flu pandemic in his last days, director Dieter Berner discerningly unspools Schiele’s final decade chronologically through the relations with his models: from his underage sister Gerti (Riegner), with whom he forms an intimate bond teetering on the brink of incest, to a tableau-vivant performer Moa (Breidbach), then his bona-fide muse Wally Neuzil (Pachner), whom he first encounters in the studio of his mentor Klimt (Obonya), until his ill-matched bourgeois wife Edith Harms (Marie Jung), only to coyly divulge Schiele’s feckless penchant towards his conquests, chiefly for the sake of artistic inspiration and utilitarian purpose, art first, women second, seems a fitting watchword for him.

It is Egon and Wally’s romantic liaison highlights the narrative, and a sylph-like Valerie Pachner gives her best in projecting Wally’s emotional gamut out of their artist-and-muse equilibrium, in particular during Schiele’s scandalous trial of pornography and pedophilia (another taboo topic subjected to an ambiguous brush), her conflicted reaction stays with audience longer than the artist’s outrage of witnessing one of his paintings being torched. But Berner ultimately sweetens the pill of their fallout, which prompts the name-change of the film's titular painting, out of the reverence to Egon’s posthumous fame.

As picturesque as a painter’s biopic could ever be, Berner’s diligent but anodyne work doesn't pack a substantial punch which would be in concordance with his subject’s singularities, especially that unique characteristic stemming from his licentious, tempestuous persona, still eludes us after him shuffling off this mortal coil.

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• Noah Saavedra
• Maresi Riegner

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• Elisabeth Umlauft

• Daniel Sträßer
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• "This film is notable for the appearance of young Austrian actor Noah Saavedra (...) This most erotic of painters is the focus of a strangely unsexy film."  Fionnuala Halligan : Screendaily

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Egon Schiele: Death and the Maiden (2016)

Original title: egon schiele: tod und mädchen.

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Vienna, Austria, 1910. The young painter Egon Schiele is a rising artist, provocative and free, whose work, characterized by eroticism, shocks as much as it fascinates art lovers.

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Egon Schiele: Death and the Maiden

Film Movement, 110 min., in German w/English subtitles, not rated, DVD: $24.95 Volume 34, Issue 1

by Frank Swietek

December 19, 2018

Rating: 2.5 of 5

Dieter Berner’s 2017 biography is subtitled after one of the best-known paintings by Egon Schiele (1890-1918), the Austrian artist who, under the influence of Gustav Klimt, developed a very personal expressionist style in which figures, often nude and emaciated, are depicted in awkward, painful poses. Criticized for the explicit nature of his work, as well as an unconventional lifestyle and a predilection for using young girls as models (all of which contributed to his arrest and the destruction of some of his canvases), Schiele died, along with his wife, in the Spanish flu epidemic that followed World War I. Schiele was an unusual figure, but Berner’s film treatment starring Noah Saavedra in the title role is extremely conventional, referring back elliptically to the madness of Schiele’s father but emphasizing the artist’s extreme closeness to his sister Gerti (Maresi Riegner), whose nursing of her ill brother in 1918 begins the narrative. Flashbacks start with 1910, when Schiele chose black dancer Moa (Larissa Breidbach) as a model, followed by 1911, as Schiele took up with Klimt’s model Wally Neuzil (Valerie Pachner), who became devoted to him. When Schiele got engaged to young, wealthy Edith Harms (Marie Jung) in 1915, the desolate Wally left (Death and the Maiden is his final portrait of her). The story then proceeds through Schiele’s marital years and army service before returning to 1918. Although handsomely mounted, Egon Schiele feels more like an illustrated encyclopedia entry than a searing drama, and it never fully captures the unique nature of its subject’s artistic vision. It does, however, serve as a capable introduction to the painter’s life. A strong optional purchase. (F. Swietek)

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As of March 2022, Video Librarian has changed from a four-star rating system to a five-star one. This change allows our reviewers to have a wider range of critical viewpoints, as well as to synchronize with Google’s rating structure. This change affects all reviews from March 2022 onwards. All reviews from before this period will still retain their original rating. Future film submissions will be considered our new 1-5 star criteria.

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Egon Schiele: Death and the Maiden

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At the beginning of the 20th Century Egon Schiele is one of the most provocative artists in Vienna. His life and work are driven by beautiful women and an era that is coming to an end. Two women will have a lasting impact on him – his sister and first muse Gerti, and 17 year old Wally, arguably Schiele’s one true love, immortalised in his famous painting ‘Death and the Maiden’. Schiele’s radical paintings scandalise Viennese society while daring artists like Gustav Klimt and art agents alike are sensing the exceptional. But Egon Schiele is also prepared to go beyond his own pain and to sacrifice love and life for his art.

• Egon Schiele: Death and the Maiden [AT, LU] (2016): film profile , trailer

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Egon Schiele: Death and the Maiden Reviews

No All Critics reviews for Egon Schiele: Death and the Maiden.

Egon Schiele: Death and the Maiden

Cast & crew.

Noah Saavedra

Egon Schiele

Maresi Riegner

Gerti Schiele

Valerie Pachner

Wally Neuzil

Larissa Aimée Breidbach

Edith Harms

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Watch Egon Schiele Death and the Maiden

• 1 hr 50 min
• 6.5   (1,521)

Egon Schiele: Death and the Maiden is a biographical drama film directed by Dieter Berner and released in 2016. The movie tells the story of the Austrian painter Egon Schiele, a prominent figure of the Expressionist movement in the early 20th century. The film is set in Vienna, between 1910 and 1918, a time of creative effervescence and societal change in Europe.

The movie follows the life of a young and talented Schiele, played by Noah Saavedra. At the beginning of the film, Schiele is an ambitious and rebellious art student who seeks to break free from academic conventions and create a new form of art that expresses his innermost fears and desires. Schiele's art is bold, provocative, and deeply introspective, often depicting the human body in unusual and unsettling ways.

Throughout the film, we witness Schiele's artistic evolution and his personal struggles as he faces censorship, opposition from the conservative Viennese society, and his own demons. Schiele's controversial paintings, which often depict nudity, masturbation, and death, raise moral and legal concerns that threaten to ruin his career and reputation. Moreover, Schiele is haunted by the memories of his childhood traumas, the death of his beloved sister, and his complicated relationships with women.

One of the central themes of the movie is Schiele's relationship with his muse and lover, Wally Neuzil, played by Maresi Riegner. Wally is a young and spirited model who becomes Schiele's muse and partner in both art and life. Their intense and sensuous relationship is a source of inspiration for Schiele's paintings, but also a source of controversy and scandal. Wally's unconventional behavior and her status as a lower-class woman are frowned upon by the Viennese society, and Schiele's association with her further tarnishes his reputation.

As the war breaks out and the world around them crumbles, Schiele and Wally's relationship is put to the test. Schiele faces the possibility of being drafted into the army or being arrested for his controversial artwork, while Wally must find a way to survive in a society that rejects her. The film doesn't shy away from portraying the harsh realities of war and the impact it has on artists and civilians alike.

Throughout the movie, the cinematography is stunning, and the use of light and color contributes to the mood and atmosphere of each scene. The film's soundtrack is also noteworthy, featuring a mix of classical and contemporary music that accentuates the emotional intensity of the story.

The performances of the cast are superb, with Noah Saavedra delivering a nuanced and powerful portrayal of Schiele. Saavedra's performance conveys Schiele's inner turmoil and his unyielding passion for art. Maresi Riegner is equally compelling, portraying Wally as a complex and multifaceted character who defies societal norms and fights for her freedom.

Overall, Egon Schiele: Death and the Maiden is a captivating and thought-provoking film that delves into the life and art of a prominent figure in the History of Art. Through its vivid portrayal of Schiele's artistic vision and personal struggles, the movie offers a glimpse into the tumultuous times of early 20th century Vienna and the challenges faced by artists who dared to question the status quo.

Egon Schiele Death and the Maiden is a 2016 drama with a runtime of 1 hour and 50 minutes. It has received mostly positive reviews from critics and viewers, who have given it an IMDb score of 6.5.

• Genres Drama History
• Cast Noah Saavedra Maresi Riegner Valerie Pachner
• Director Dieter Berner
• Release Date 2016
• Runtime 1 hr 50 min
• Language German
• IMDB Rating 6.5   (1,521)

• Movies & TV
• Featured Categories

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Egon Schiele: Death and the Maiden

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From the manufacturer

Founded in 2002 as one of the first-ever subscription film services with its DVD-of-the-Month Film Club, Film Movement is now a North American distributor of independent and foreign films based in New York City. We have released more than 250 feature films and dozens of shorts culled from prestigious film festivals worldwide, including the Oscar-nominated films. Film Movement’s theatrical releases include American independent films, documentaries, and foreign art house titles. Our catalog includes titles by directors such as Hirokazu Kore-eda, Maren Ade, Jessica Hausner, Andrei Konchalovsky, Andrzej Wajda, Diane Kurys, Ciro Guerra and Melanie Laurent.

Product Description

At the beginning of the 20th century Egon Schiele is one of the most provocative artists in Vienna. His life and work are driven by beautiful women and an era that is coming to an end. Two women will have a lasting impact on him - his sister and first muse Gerti, and 17 year old Wally, arguably Schiele's one true love, immortalized in his famous painting 'Death and the Maiden'. Schiele's radical paintings scandalize Viennese society while daring artists like Gustav Klimt and art agents alike are sensing the exceptional. But Egon Schiele is also prepared to go beyond his own pain and to sacrifice love and life for his art.

WINNER - Best Actress - Austrian Film Awards NOMINATED - 5 Awards - Austrian Film Awards NOMINATED - Grand Jury Prize - Nashville Film Festival OFFICIAL SELECTION - Zurich Film Festival OFFICIAL SELECTION - Busan Int'l Film Festival OFFICIAL SELECTION - Mill Valley Film Festival OFFICIAL SELECTION - Nashville Int'l Film Festival --- This film presents a fascinating biographical story as well as an interesting historical perspective on life in Austria and Vienna at the beginning of the twentieth century. The actors and actresses are refreshing young newcomers to film. --Pat Nevers, KinoCritics.com [T]he film Egon Schiele: Death and the Maiden celebrates the exceptional artist with wonderful cinematography (Carsten Thiele gets to quite literally paint with light) under the direction of Dieter Berner. Every detail in the film is lovingly taken care of, every tiny role cast to perfection (for instance with Nina Proll as a Prater entertainer). --Elisabeth Schabus, Ristretto.tv

Product details

• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 2.72 ounces
• Director ‏ : ‎ Dieter Berner
• Media Format ‏ : ‎ NTSC, Subtitled
• Run time ‏ : ‎ 1 hour and 50 minutes
• Release date ‏ : ‎ October 9, 2018
• Actors ‏ : ‎ Noah Saavedra, Maresi Riegner, Valerie Pachner
• Subtitles: ‏ : ‎ English
• Studio ‏ : ‎ Film Movement
• ASIN ‏ : ‎ B07G28PHYS
• Number of discs ‏ : ‎ 1
• #20,737 in Drama DVDs

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