cinehunch
A FILM WORTH A CLOSER LOOKTHE FEATURE PRESENTATION
IF THIS ONE STAYED WITH YOU
Keep the feeling.
SIMILAR PICKS / A PERSONAL CONNECTION
01
Why this pick
Like Cabaret, it turns prewar Europe into a ravishing, morally unstable spectacle, following intimate compromises as fascism gathers force; its stylised interiors and sensual unease make politics feel personal.
02
Why this pick
A nightclub singer's ascent amid Nazi Germany carries Cabaret's seductive performance-world glamour, romantic volatility and encroaching political dread, with Fassbinder's deliberately artificial, emotionally charged visual style.
03
Why this pick
Visconti matches Cabaret's decadent period opulence and sense of a society rotting from within, using a powerful family's moral collapse to make fascism feel both theatrical and terrifyingly intimate.
04
Why this pick
For Cabaret's fascination with performance, erotic power and Europe’s political shadows, this is a colder, more disturbing chamber drama about an obsessive relationship haunted by the Nazi past.
05
Why this pick
Its quiet, compassionate focus on two outsiders during a fascist public spectacle echoes Cabaret's private lives against authoritarian pageantry, though with a gentler, more intimate and less musical register.
Finding the atmosphere, tension and little details that made this one stay with you.
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01 / THE STORY
In 1931 Berlin, young American Sally Bowles performs at the Kit Kat Klub. A new British arrival in the city, Brian Roberts, moves into the boarding house where Sally lives. A reserved Academia and writer, Brian gives English lessons to earn a living, while completing his doctorate. Sally tries seducing Brian, and suspects he may be gay. Brian tells Sally that on three previous occasions he has tried to have sexual relationships with women, all of which failed. They become friends, and Brian witnesses Sally's anarchic, Bohemianism life in the last days of the Weimar Republic. Sally and Brian become lovers, despite their earlier reservations; they conclude that his previous failures with women were because they were "the wrong three girls".
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02 / FACES IN THE FRAME
Sally Bowles
Brian Roberts
Fritz Wendel
Natalia Landauer
Master of Ceremonies
Maximilian von Heune
Fräulein Schneider
Bobby
