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Egon Schiele: Tod und Mädchen (2016) – Storyline/Plot:

Egon Schiele is one of the most provocative artists in Vienna at the beginning of the 20th Century. 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 his one true love, immortalized in his famous painting ‘Death and the Maiden’. His radical paintings scandalize Viennese society while daring artists like Gustav Klimt and art agents alike are sensing the exceptional. But he is also prepared to go beyond his own pain and to sacrifice Love and Life for his art that inspires us up to this day.

Review of Egon Schiele: Tod und Mädchen (2016 Film):

I’ve always been in love with Egon Schiele’s work. He’s probably my favourite painter. So, I was a bit skeptical about this film. But I loved it! The cinematography is beautiful, the performances are great (especially Noah Saavedra, Maresi Riegner, and Valerie Pachner), and the music is sublime. Egon produced in his short life around 300 canvases and around 2,000 water colours and drawings. And they are all amazing. I would have preferred a bit more about the paintings and less of the women, but overall, it’s a wonderful film. Egon Schiele: Tod und Mädchen is a beautiful, erotic, sad, and poetic film. A real gem. 10/10

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.