One of Fassbinder's most underrated and misunderstood films with the spirited cast-including Udo Kier, Eddie Constantine, Hanna Schygulla, Margin Carstensen-make all this touching as well as troubling. This was made during a time when West Germany was dealing with many homegrown terrorist groups. Mind it, this is not an action film but an absurd comedy to be precise which explores the German Terrorism (Baader-Meinhoff crew) of the 70s. Fassbinder takes a neutral stand here and skewers both the left and the right, he takes a dig at the corruption and hypocrisy of both the capitalists and the communists. He pokes fun at radical bourgeois nihilist leftists who wants to make a statement against capitalism, but the result is that their efforts turn out to be a big flop as it helped the wealthy capitalist. Still kinda oddly compelling almost like adding another weird one to the opus of the old anti-burgeous Godard (La Chinoise) film which is relevant as shown in the on-screen title card and the aural tricks. Beyond Godard, Robert Bresson is a major influence in the film, scenes from controversial The Devil Probably is shown playing on the TV at the beginning of this film), and Tarkovsky's Solaris. But it is so stylized and deliberately non realist that it could be something else. But what matters is its visual aspect, made of unusual frames and geometric images that makes of it one of Faasbinder's best film I know followed by Lili Marleen, fascinating from the first to the last.