The clothes worn in Wim Wenders’ False Movement reveal things about the characters as often as they conceal them. Wilhelm, the protagonist, dresses like novelist Peter Handke, who wrote the screenplay. The poet, however, dresses like a poet but resembles a butcher, because he reads poetry as if he were wielding a cleaver. The homeless Nazi dresses like your grandfather but just looks like a homeless Nazi. Hanna Schygulla dresses like a coloring book that hasn’t been filled in yet, and Nastassja Kinski dresses like one that has. Objectively, Schygulla was the most beautiful woman in Germany at the time, and Kinski was the most beautiful girl. “You’re revolting when you’re silent,” Wilhelm tells Schygulla. Wilhelm, however, is revolting when he speaks. “Your objective pose is ridiculous,” Schygulla said to him earlier in the film. Sometimes, I try to act objectively, but I only end up acting like someone in a Richard Linklater film. Nastassja Kinski’s character has no concept of objectivity; she’s a thirteen year old mute who can’t juggle. Her grandfather, or whatever he is to her, is a Nazi. She’s the best thing about False Movement. I liked the film immediately, because its story begins on a train, and I like movies with trains in them. I even liked Before Sunrise (I was fourteen at the time). But when I saw Before Sunset, thinking I was going to see Before Sunrise, a film I didn’t remember, not realizing there was a sequel, I kept waiting for there to be trains, and I was disappointed when there weren’t, but I enjoyed it, because I laughed at the characters. Their objective poses were ridiculous. I know people like that; I laugh at them too. And Julie Delpy is right, Ethan Hawke really does have a funny wrinkle between his eyebrows.