Fassbinder spells out the film’s personal relevance from the very beginning by calling it a ‘case history’ and identifying an unnamed male as the inspiration for Marlene’s character. The all-female cast is perfectly selected, all faces that will be familiar to fans of Fassbinder. Margit Carstensen is marvellous as the lead – uncomfortably rakish in appearance, she portrays the predatory Petra with aplomb. Irm Hermann as Marlene is a ghostly presence throughout the film – in one scene, her teary pale face suddenly vanishes into a blur, underlining her comparative insignificance once Karin has entered the frame. The fashion motif in the film suggests a theme of deception, the two women dressing competitively in a bid to convince the other of her feelings. Though it carries the relics of a low-budget seventies production, Petra von Kant is fundamentally timeless and classic.
![](https://cdn.statically.io/img/blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1SJqZtxRn5vil5qtiJNW5sNcWOuUCsHLVJieJop81y3SUPG0KAmrjTHY96kDrkHLC2Mo0sqhuER_6WhKx25iY2qQRnd3qRyX4Szc0S6rD0U6OuJCCuLIHx18XooghXBN9nodztAeg6Ndl/s320/thebittertearsofpetravonkant.jpg)