{"id":34,"date":"2026-05-16T18:05:49","date_gmt":"2026-05-16T18:05:49","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=34"},"modified":"2026-05-16T18:05:49","modified_gmt":"2026-05-16T18:05:49","slug":"cannes-legend-volker-schlondorff-has-no-regrets","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=34","title":{"rendered":"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets"},"content":{"rendered":"
\n<\/p>\n
\n

\n\tThis Cannes, Volker Schl\u00f6ndorff is just here to enjoy himself.<\/p>\n

\n\t\u201cGo there for the fun,\u201d he recalls former Cannes chief Gilles Jacob telling him recently. \u201cYou got the Palme already.\u201d<\/p>\n

Read more \u2018Sheep in the Box\u2019 Review:\u00a0Hirokazu Kore-eda Trains His Tender Gaze on Human-AI Co-Existence in a Grief Drama in Search of an Emotional Payoff<\/a><\/p>\n

\n\tIt\u2019s the kind of advice only a filmmaker with Schl\u00f6ndorff\u2019s history on the Croisette could receive. He arrived in Cannes for the first time with\u00a0Young T\u00f6rless\u00a0<\/em>in 1966, his debut feature and one of the opening salvos of the New German Cinema movement. The adaptation of Robert Musil\u2019s novel about cruelty and authoritarianism in an Austrian military boarding school caused an immediate scandal. Mid-screening, Schl\u00f6ndorff remembers, a German cultural attach\u00e9 stormed out of the Palais shouting: \u201cThis is not a German film!\u201d<\/p>\n

\n\t\u201cFor publicity, I couldn\u2019t have asked for anything better,\u201d Schl\u00f6ndorff says now.\u00a0<\/p>\n

\n\tAt 87, Schl\u00f6ndorff speaks with the calm precision of someone who has spent decades arguing about cinema, politics and history \u2014 often all at once. His films have done the same. In dozens of features over six decades, from\u00a0The Lost Honor<\/em>\u00a0of\u00a0Katharina Blum<\/em>\u00a0(1975) to Coup de Gr\u00e2ce<\/em>\u00a0(1976) to\u00a0The Ninth Day<\/em>\u00a0(2004),\u00a0Calm at Sea<\/em>\u00a0(2011) or\u00a0Diplomacy<\/em>\u00a0(2014), his work has traced the fault lines of European history: fascism, terrorism, war, ideological collapse, and the uneasy compromises between morality and survival. Few filmmakers of his generation moved as fluidly between art house prestige, literary adaptation and political\u202fconfrontation.<\/p>\n

\n\tAnd few remained so closely tied to Cannes.<\/p>\n

\n\tAfter\u00a0Young T\u00f6rless<\/em>, Schl\u00f6ndorff returned repeatedly to the festival through the late 1960s and \u201970s, sometimes triumphantly, sometimes less so. He jokes now that several of those films \u201chave fortunately been forgotten.\u201d But Cannes remained the recurring stage on which Schl\u00f6ndorff\u2019s career unfolded \u2014 and where, in 1979, it reached its defining peak.<\/p>\n

\n\tThat was the year\u00a0The Tin Drum<\/em>, his adaptation of G\u00fcnter Grass\u2019 sprawling anti-fascist masterpiece, shared the Palme d\u2019Or with Francis Ford Coppola\u2019s\u00a0Apocalypse Now<\/em>. The pairing felt symbolic: New German Cinema meeting New Hollywood at the height of both movements\u2019 artistic ambition. Coppola\u2019s Vietnam epic alongside Schl\u00f6ndorff\u2019s surreal story about a child who refuses to grow up as Europe descends into madness.\u00a0<\/p>\n

\n\tAfter Cannes,\u00a0The Tin Drum\u00a0<\/em>went on to win the Oscar for best foreign-language film, the first German movie to do so since the end of the Second World War.\u00a0<\/p>\n

\n\t\u201cSometimes, you\u2019re kissed by the Muses, as I was with\u00a0The Tin Drum<\/em>. That will remain, forever, my peak,\u201d he acknowledges. \u201cAs time goes by, I feel grateful to have had such a peak.\u201d<\/p>\n

\n\tIf\u00a0The Tin Drum<\/em>\u00a0became the film that permanently defined Schl\u00f6ndorff internationally, it also clarified the themes that had always driven him. History, in Schl\u00f6ndorff\u2019s cinema, is never background. Politics enters bedrooms, kitchens and private lives whether people invite it in or not.<\/p>\n

\n\tThat worldview was shaped as much by biography as ideology. Born in Germany during the war, Schl\u00f6ndorff spent his formative years in France, attending school there and beginning his cinema apprenticeship under such directors as Louis Malle and Jean-Pierre Melville. He absorbed the intellectual rigor of the French New Wave. Later, after international success brought him to Hollywood, Schl\u00f6ndorff would find a counterweight in his friendship with Billy Wilder, who taught him \u201chow to not let your profession entirely take over your life.\u201d\u00a0<\/p>\n

\n\tBut Schl\u00f6ndorff is, was and will always be, in his words, \u201ca political animal.\u201d He was formed amid the ideological tumult of postwar West Germany in the 1960s and \u201970s. Several of his films \u2014\u00a0The Lost Honor of Katharina Blum<\/em>, the omnibus film\u00a0Germany in Autumn<\/em>\u00a0(1978),\u00a0The Legend of Rita<\/em>\u00a0(2000) \u2014 confront the lingering presence of Nazi and authoritarian ideology in German institutions and the radicalization that emerged in response. Schl\u00f6ndorff sympathized with the anger driving the student movements of the time and pushed back against those condemning the radicals, including German left-wing terrorist group the Red Army Faction, who were using violence to achieve political ends.\u00a0<\/p>\n

\n\tThere were detours. Hollywood came calling after\u00a0The Tin Drum<\/em>. Schl\u00f6ndorff turned down an offer from Steven Spielberg to do an episode of\u00a0The Twilight Zone<\/em>\u00a0\u2014 but did make\u00a0Swann in Love<\/em>\u00a0(1984) with Jeremy Irons,\u00a0Death of a Salesman<\/em>\u00a0(1985) with John Malkovich and Dustin Hoffman,\u00a0Voyager<\/em>\u00a0(1991) with Sam Shepard and Julie Delpy, even the now-forgotten, first adaptation of Margaret Atwood\u2019s\u00a0The Handmaid\u2019s Tale<\/em>\u00a0(1990) starring Natasha Richardson, Faye Dunaway and Robert Duvall.\u00a0<\/p>\n

\n\tNew York briefly became home. Then history intervened again. The fall of the Berlin Wall pulled Schl\u00f6ndorff back to Germany, where he spent years helping revive the legendary Studio Babelsberg following reunification \u2014 the backlot, based in East Germany, was threatened with collapse \u2014 work he now describes as necessary if frustrating and far removed from filmmaking\u202fitself.<\/p>\n

\n\tThis year, Cannes brings him back once more, out of competition, with\u00a0Visitation<\/em>, adapted from Jenny Erpenbeck\u2019s novel\u00a0Heimsuchung<\/em>. Set across decades at a lakeside property in Brandenburg, the film follows successive inhabitants through the Nazi era, East Germany and reunification, tracing how political systems reshape ordinary lives whether their occupants acknowledge it or not. The film\u2019s ensemble cast includes Lars Eidinger, Martina Gedeck, Susanne Wolff and Angela Winkler. StudioCanal is handling international sales.\u00a0<\/p>\n

\n\tThe role of the artist under authoritarianism, the fragility of private happiness and the illusion that anyone can remain untouched by history put\u00a0Visitation<\/em>\u00a0firmly in the land of Schl\u00f6ndorff, in the territory he has explored his entire\u202fcareer.\u00a0<\/p>\n

\n\tLooking back across six decades of Cannes triumphs, scandals, detours and reinventions, Schl\u00f6ndorff sounds surprisingly unburdened by it all. He speaks about the unpredictability of a filmmaking life with the same unsentimental clarity his films bring to history\u202fitself.<\/p>\n

\n\t\u201cJe ne regrette rien<\/em>,\u201d he says.<\/p>\n

\nYou have a long relationship with Cannes, but an even longer relationship with France, where you studied and first started your career in film. What influence did that early period in France have on you?<\/strong><\/p>\n

\n\tThe influence is enormous. In these formative years, between 15 and 25, that\u2019s where you make friends, where you are happy the first time \u2026 But especially that\u2019s where I discovered filmmaking. Everything I am in life, as well as in my profession, in my art, it all comes from these 10 years in France.<\/p>\n

Read more Inside \u2018Obsession\u2019s\u2019 Ending: Inde Navarrette on Nikki\u2019s Fate and Becoming Horror\u2019s Newest Scream Queen<\/a><\/p>\n

\nThe other person I connect you to is Billy Wilder, whom you were good friends with and did an incredible documentary on (2006\u2019s\u00a0Billy Wilder Speaks<\/em>). What did you learn from Wilder?<\/strong><\/p>\n

\n\tWhich kind of shoes to buy, which kind of clothes to wear, what to order in the restaurant. Most of all, how to not let your profession entirely take over your life. He was as passionate and as devoted a filmmaker as you can imagine, but his art collecting, his meeting with friends, especially his discussing movies with friends [were just as important to him]. For him, watching a film was one thing, but discussing the movie afterwards, that was the real joy. We would sit down, with our own films or others\u2019 films, and try to analyze how come it works and how come it doesn\u2019t work? He always identified with the person in the movie theater and what influence the film would have on them. That was the important point.<\/p>\n

\nDo you remember your first Cannes with\u00a0Young T\u00f6rless<\/em>?<\/strong>\n<\/p>\n

\n\tIt was exactly 60 years ago, almost to the day, on May\u202f15, 1966. It seems unreal that I should be the same person as the one who was there 60 years ago. It\u2019s a great joy for me [to be back]. And also it\u2019s very relaxed. It\u2019s out of competition, as Gilles Jacob told me last week: \u201cWhat do you care about competition? You got the Palme already. Go there for the fun.\u201d And that\u2019s what I\u2019m doing.<\/p>\n

\nWhat was the reception to the film back then?<\/strong><\/p>\n

\n\tThere was a little scandal. In the middle of the screening, the German representative, the cultural attach\u00e9 of the embassy, got up screaming, \u201cThis is not a German film!\u201d and left the Grand Palais slamming the door behind him. Well, I couldn\u2019t have asked for better publicity. But the real screening for me was the press screening in the morning. I remember going into the press conference with maybe 40 or 50 critics together, and that applause was probably the most enjoyable one I ever had in my life.<\/p>\n

\nYou were back a few times in between\u00a0Young T\u00f6rless<\/em>\u00a0and\u00a0The Tin Drum<\/em>\u00a0(1979) \u2026<\/strong><\/p>\n

\n\tSeven times in total, three times between\u00a0Young T\u00f6rless\u00a0<\/em>and\u00a0The Tin Drum<\/em>\u00a0with films, I\u2019d say, have fortunately been forgotten. My second movie,\u00a0Degree of Murder<\/em>, with Anita Pallenberg and the music by The Rolling Stones\u2019 Brian Jones. Then my Michael Kohlhaas adaptation,\u00a0Man on Horseback<\/em>, my first English-speaking production for Columbia, which was too much, too soon for me. But Cannes is very, very familiar. It\u2019s really strange that one is still around, still going, still making films.\u00a0<\/p>\n

\nWhen you won the Palme d\u2019Or for\u00a0The Tin Drum<\/em>, you shared it with Francis Ford Coppola and\u00a0Apocalypse Now<\/em>.<\/strong><\/p>\n

\n\tI was friends with Francis, and had been visiting him on his yacht the day before. I knew he was carrying the weight of, you know, $50\u202fmillion of his own fortune he had in the movie, and there was the rumor that he\u2019d been promised the Palme as a condition for bringing the film to Cannes. We joked about it, but it felt very much like David versus Goliath.\u00a0<\/p>\n

\n\tI felt very honored to share the Palme with him. He was bothered by it at the time, but not for vanity reasons. He was really fighting for the money, and he thought that sharing the prize might diminish the commercial impact of the Palme. But both films did well, and after that we had a bond.\u00a0<\/p>\n

\nDid you feel with\u00a0The Tin Drum<\/em>\u00a0you had found your voice as a director?<\/strong><\/p>\n

\n\tWell, if I found it, then I lost it very fast again. You can never say in filmmaking you\u2019ve found it. You invest the same enthusiasm, the same labor, the same creativity in every project, and sometimes all of a sudden, you\u2019re kissed by the Muses, as I was with\u00a0The Tin Drum<\/em>. That will remain, forever, my peak. As time goes by, I feel grateful to have had such a peak. And life was easier afterwards. I was able to work in a more relaxed manner. I didn\u2019t have anything more to prove. Winning the Academy Award gave me a\u202ftranquility.\u00a0<\/p>\n

\nVisitation<\/em>\u00a0returns again to the Nazi era and East Germany, periods you\u2019ve explored many times before.<\/strong>\n<\/p>\n

\n\tI was totally unaware how political this film was going to turn out. I saw it as a pastoral, the bucolic countryside, on the lake, through summer, winter, spring, the four seasons. It was only as we were making it that I saw how the characters think they are enjoying a happy summer, they feel in full control of their private lives, but there are politics looming in the background that will change their lives. The Nazi period is just about a third of the film, it\u2019s not about that per\u202fse, but more about how we are all shaped by historical events, more than our own will and our own desires. We might want this or that, but then the bombing starts, the government is overthrown, history happens and we get thrown off course. Meanwhile, nature remains beautiful and indifferent to our joys and our suffering.<\/p>\n

\nDo you see yourself as a political artist?<\/strong><\/p>\n

\n\tI can\u2019t help it. I\u2019m the political animal. I\u2019m completely involved and interested in what\u2019s going on in history. The difference between the \u201960s and now is you don\u2019t really have the belief anymore that you can change a lot, but you have to partake because politics is what decides our lives.\u00a0<\/p>\n

\nYou were very engaged politically in the \u201960s and \u201970s, at a time when groups like the German Red Army Faction were using violence to achieve political change. How do you look back on that time now?\u00a0<\/strong><\/p>\n

\n\tFirst, let me quote \u00c9dith Piaf:\u00a0Je ne regrette rien<\/em>. Secondly, I never justified political violence. But in my movies, I tried to show how post-war German society was still completely infiltrated by old Nazis, in the educational system, in the justice system, in everyday politics. And that needed to be shaken up. The street protests of \u201968 didn\u2019t achieve much initially, so inevitably, it escalated into violence. I think the people who used violence, at the beginning, had good intentions. They thought it would be a wake-up call. But the more isolated they became, the more fanatical things got.\u00a0<\/p>\n

\nHow do you look back on your years reviving Studio Babelsberg?<\/strong><\/p>\n

\n\tSomebody had to do it. I had no idea what I was getting into. I thought we were going to produce movies. Instead, it was mostly renovation of the facility. There were more politics than filmmaking involved. It was fascinating, but it was not my job. I\u2019m a filmmaker. In a sense, I lost five or eight years of filmmaking, plus another couple of years just to recuperate from that. It was like I had changed sides, from the creative side to the financial, commercial side, and because the studio shifted from being state-owned to investor-owned, and so many people lost their jobs, it was like shifting politically from leftist to capitalist.\u00a0<\/p>\n

\n\tBut today, I\u2019m fine with it, because otherwise Studio Babelsberg wouldn\u2019t exist. And it does. We shot the interior of the house [in\u00a0Visitation<\/em>] at the studio, and I did all the sound work. It was satisfying to finally take advantage of all that\u202finvestment.\u00a0<\/p>\n

\nSo you really have no regrets?<\/strong><\/p>\n

\n\tThings could have been different. You often try to make yourself believe that you made the choices in your life, but the influence of the world on your private life is enormous. The fall of the Berlin Wall made me studio boss in East Germany. It wasn\u2019t my choice. I think the one conscious choice I made, the one that determined everything, was deciding, at age 16 or 17, to go to boarding school in France and then deciding to become a filmmaker. I labored, with intense will and energy, and 10 years later, I became a filmmaker. Everything else came from that.\u00a0<\/p>\n

Read more Box Office Thriller: \u2018Michael\u2019 Returns to No. 1 Thanks to Imax and Other Premium Screens, \u2018Obsession\u2019 Also a Win<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

At 87, German director Volker Schlondorff returns to Cannes with a new film and six decades of history of scandals, the Palme and politics.<\/p>\n","protected":false},"author":1,"featured_media":33,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[28,29,8,13,30,31,32],"class_list":["post-34","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-apocalypse-now","tag-billy-wilder","tag-cannes-2026","tag-cannes-film-festival","tag-the-tin-drum","tag-visitation","tag-volker-schlondorff"],"yoast_head":"\nCannes Legend Volker Schl\u00f6ndorff Has No Regrets - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=34\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets - US Property Moves\" \/>\n<meta property=\"og:description\" content=\"At 87, German director Volker Schlondorff returns to Cannes with a new film and six decades of history of scandals, the Palme and politics.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/uspropertymoves.com\/?p=34\" \/>\n<meta property=\"og:site_name\" content=\"US Property Moves\" \/>\n<meta property=\"article:published_time\" content=\"2026-05-16T18:05:49+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/uspropertymoves.com\/wp-content\/uploads\/2026\/05\/ef4b079e2019d6707dd0b409d3791d19.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"1440\" \/>\n\t<meta property=\"og:image:height\" content=\"810\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/#\\\/schema\\\/person\\\/f6dcb1ef8e64fe67b72b772b81aa822c\"},\"headline\":\"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets\",\"datePublished\":\"2026-05-16T18:05:49+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34\"},\"wordCount\":2484,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uspropertymoves.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/ef4b079e2019d6707dd0b409d3791d19.webp\",\"keywords\":[\"Apocalypse Now\",\"billy wilder\",\"Cannes 2026\",\"Cannes Film Festival\",\"The Tin Drum\",\"Visitation\",\"Volker Schl\u00f6ndorff\"],\"articleSection\":[\"Interesting\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/uspropertymoves.com\\\/?p=34#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34\",\"url\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34\",\"name\":\"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets - US Property Moves\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/uspropertymoves.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/ef4b079e2019d6707dd0b409d3791d19.webp\",\"datePublished\":\"2026-05-16T18:05:49+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/#\\\/schema\\\/person\\\/f6dcb1ef8e64fe67b72b772b81aa822c\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/uspropertymoves.com\\\/?p=34\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34#primaryimage\",\"url\":\"https:\\\/\\\/uspropertymoves.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/ef4b079e2019d6707dd0b409d3791d19.webp\",\"contentUrl\":\"https:\\\/\\\/uspropertymoves.com\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/ef4b079e2019d6707dd0b409d3791d19.webp\",\"width\":1440,\"height\":810},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/?p=34#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/uspropertymoves.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/#website\",\"url\":\"https:\\\/\\\/uspropertymoves.com\\\/\",\"name\":\"US Property Moves\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/uspropertymoves.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/uspropertymoves.com\\\/#\\\/schema\\\/person\\\/f6dcb1ef8e64fe67b72b772b81aa822c\",\"name\":\"admin\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g\",\"caption\":\"admin\"},\"sameAs\":[\"http:\\\/\\\/uspropertymoves.com\"],\"url\":\"https:\\\/\\\/uspropertymoves.com\\\/?author=1\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets - US Property Moves","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/uspropertymoves.com\/?p=34","og_locale":"en_US","og_type":"article","og_title":"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets - US Property Moves","og_description":"At 87, German director Volker Schlondorff returns to Cannes with a new film and six decades of history of scandals, the Palme and politics.","og_url":"https:\/\/uspropertymoves.com\/?p=34","og_site_name":"US Property Moves","article_published_time":"2026-05-16T18:05:49+00:00","og_image":[{"width":1440,"height":810,"url":"https:\/\/uspropertymoves.com\/wp-content\/uploads\/2026\/05\/ef4b079e2019d6707dd0b409d3791d19.webp","type":"image\/webp"}],"author":"admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"admin","Est. reading time":"12 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/uspropertymoves.com\/?p=34#article","isPartOf":{"@id":"https:\/\/uspropertymoves.com\/?p=34"},"author":{"name":"admin","@id":"https:\/\/uspropertymoves.com\/#\/schema\/person\/f6dcb1ef8e64fe67b72b772b81aa822c"},"headline":"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets","datePublished":"2026-05-16T18:05:49+00:00","mainEntityOfPage":{"@id":"https:\/\/uspropertymoves.com\/?p=34"},"wordCount":2484,"commentCount":0,"image":{"@id":"https:\/\/uspropertymoves.com\/?p=34#primaryimage"},"thumbnailUrl":"https:\/\/uspropertymoves.com\/wp-content\/uploads\/2026\/05\/ef4b079e2019d6707dd0b409d3791d19.webp","keywords":["Apocalypse Now","billy wilder","Cannes 2026","Cannes Film Festival","The Tin Drum","Visitation","Volker Schl\u00f6ndorff"],"articleSection":["Interesting"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/uspropertymoves.com\/?p=34#respond"]}]},{"@type":"WebPage","@id":"https:\/\/uspropertymoves.com\/?p=34","url":"https:\/\/uspropertymoves.com\/?p=34","name":"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets - US Property Moves","isPartOf":{"@id":"https:\/\/uspropertymoves.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/uspropertymoves.com\/?p=34#primaryimage"},"image":{"@id":"https:\/\/uspropertymoves.com\/?p=34#primaryimage"},"thumbnailUrl":"https:\/\/uspropertymoves.com\/wp-content\/uploads\/2026\/05\/ef4b079e2019d6707dd0b409d3791d19.webp","datePublished":"2026-05-16T18:05:49+00:00","author":{"@id":"https:\/\/uspropertymoves.com\/#\/schema\/person\/f6dcb1ef8e64fe67b72b772b81aa822c"},"breadcrumb":{"@id":"https:\/\/uspropertymoves.com\/?p=34#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/uspropertymoves.com\/?p=34"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/uspropertymoves.com\/?p=34#primaryimage","url":"https:\/\/uspropertymoves.com\/wp-content\/uploads\/2026\/05\/ef4b079e2019d6707dd0b409d3791d19.webp","contentUrl":"https:\/\/uspropertymoves.com\/wp-content\/uploads\/2026\/05\/ef4b079e2019d6707dd0b409d3791d19.webp","width":1440,"height":810},{"@type":"BreadcrumbList","@id":"https:\/\/uspropertymoves.com\/?p=34#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/uspropertymoves.com\/"},{"@type":"ListItem","position":2,"name":"Cannes Legend Volker Schl\u00f6ndorff Has No Regrets"}]},{"@type":"WebSite","@id":"https:\/\/uspropertymoves.com\/#website","url":"https:\/\/uspropertymoves.com\/","name":"US Property Moves","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/uspropertymoves.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/uspropertymoves.com\/#\/schema\/person\/f6dcb1ef8e64fe67b72b772b81aa822c","name":"admin","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g","caption":"admin"},"sameAs":["http:\/\/uspropertymoves.com"],"url":"https:\/\/uspropertymoves.com\/?author=1"}]}},"_links":{"self":[{"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=\/wp\/v2\/posts\/34","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=34"}],"version-history":[{"count":0,"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=\/wp\/v2\/posts\/34\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=\/wp\/v2\/media\/33"}],"wp:attachment":[{"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=34"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=34"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/uspropertymoves.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=34"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}