Movies: First Person Singular

Romy Schneider confesses to the camera.

Richard Brody

THE MODERN CINEMA, born in the nineteen-sixties, gave rise to a new genre, the portrait film, such as the Maysles brothers’ “Meet Marlon Brando” and Shirley Clarke’s “Portrait of Jason.” Another key work in that form, “Romy: Anatomy of a Face,” from 1967, is among the newly restored rare masterworks presented in this year’s edition of MOMA’s essential annual series “To Save and Project” (Nov. 2-23). “Romy: Anatomy of a Face,” Hans-Jürgen Syberberg’s second feature, made for German television, offers an intimate view of the actress Romy Schneider, revealing crucial conflicts behind the image of a public figure who loomed large in the German national imagination—and within the art of movies itself. The Austrian-born Schneider, then twenty-seven, had been an international star for more than a decade, largely thanks to such…

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The New Yorker (Digital) - 1 Issue, November 7, 2016

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