Statement by Wim Wenders on the Future Handling of the Film Wrong Move
As the only person responsible at the time for Wrong Move who is still here, I recognize that Nastassja Kinski should have been better protected back then. For that, I apologize to you, Nastassja, unreservedly, no ifs and buts.
The non-profit Wim Wenders Foundation, which owns the film, is withdrawing it from all current forms of distribution and exhibition. Streaming services, television broadcasters and distribution partners will be instructed to cease public access to the film.
The many reactions, comments, and conversations of recent days have played a significant role in further sharpening my understanding of the events of that time. For that, I am grateful. Only an open and respectful exchange can lead us to reconsider positions and reassess responsibilities.
It is necessary for our society to find appropriate ways of dealing with controversial film works from the 20th Century and to face new learning processes and inclusive perspectives regarding cinema. As part of this important debate, we will seek a broad dialogue – with the German Film Academy, the DFF – Deutsches Filminstitut & Filmmuseum, other film heritage institutions and intergenerational groups.
Only after that process has taken place – even if it takes considerable time – and once we have been able to present a mutually agreed solution, which will include Nastassja Kinski, will we make the film available again.
Berlin, June 3, 2026
Glückstadt in northern Germany, Bonn, a palace along the Rhine, a housing project on the outskirts of Frankfurt and finally the Zugspitze—these are the stations of the journey that the young Wilhelm Meister (Rüdiger Vogler) hopes will save him from the gloomy irritability and despondency that plague him in his home town. In unfamiliar places, he thinks that he will be able to do what he has always had an uncontrollable drive to do—to write. He wants to become an author. With the journey, which his mother (Marianne Hoppe) gives him permission to make, he hopes to broaden his horizons and, above all, to find himself.
In Goethe’s novel “Wilhelm Meister’s Apprenticeship”, which provided the source material for Peter Handke’s script, a journey of this kind was still a “genuine movement.” In the literature of the 19th century, particularly in the German bildungsroman, the topos of the journey is always linked to lastingly significant changes and experiences. Traveling is synonymous with the successful search for one’s own identity.
But the Wilhelm of WRONG MOVE must arrive at the painful recognition that—today—a journey alone no longer leads to the desired goal. His path leads him into an unbroken series of failures, through his own fault and that of all the people he meets on his way: the street singer Laertes (Hans Christian Blech) struggling with his Nazi past, the mute girl Mignon (Nastassja Kinski in her first role), the poet (Peter Kern), and the actress Therese (Hanna Schygulla).
