Rainer Werner Fassbinder’s 1974 movie “Fear Eats the Soul” uses a deliberately incorrect German title: ANGST ESSEN SEELE AUF, which translates to "Fear Eat Soul." This reflects one of the film's central characters: Ali (El Hedi ben Salem), a Moroccan immigrant working as a car mechanic in Munich. While he’s picked up some basic German, his ability to integrate into German society and learn the language has been hampered by both limited time and a culture that keeps people like him at a distance. However, one night at a pub, Ali encounters Emmi (Brigitte Mira), a widow in her sixties. They dance, and Emmi finds herself falling for this handsome stranger who awakens feelings she thought were long gone. Ali’s motivations are less clear, but he also seems to be struggling with loneliness and sees something kindred in this woman much older than himself. Initially, the film presents itself as an unusual romantic comedy. However, as a title card states early on, "Happiness is not always happy." The downside of this couple's developing love is the suspicion, jealousy, fear, and hostility they face from those around them. Emmi’s neighbors spread rumors and criticize her for bringing someone they consider undesirable into their building; her grown children disapprove of her new relationship; and a local shopkeeper refuses to serve Ali. The film's dramatic core revolves around Emmi and Ali’s efforts to navigate this wave of social rejection and maintain their bond. A few people in Munich seem unconcerned by the couple, offering a glimmer of hope. The performances are particularly striking. El Hedi ben Salem wasn’t a trained actor; he was actually Fassbinder's lover, having met him in a Paris bathhouse. His lack of professional experience proves beneficial, as his awkwardness is perfectly suited to Ali’s character—a man uncomfortable and unsure of himself in this foreign land. Brigitte Mira, a veteran of German film and television, carries much of the acting weight and delivers a remarkable performance, conveying profound emotions – from regret over her peers' racism to the joy of experiencing love again after years of solitude – largely through her expressive eyes, which Fassbinder frequently highlights with extended camera shots. Fassbinder himself appears in a small role as Emmi’s son-in-law (married to Emmi’s daughter, played by Irm Hermann), and his brief appearances are marked by amusing facial expressions and wry dialogue. Despite the film's unexpectedly touching romance and its poignant story of two lovers confronting prejudice, “Fear Eats the Soul” isn’t flawless. Later in the movie, Fassbinder appears unsure of what he wants to convey. He abruptly shifts the tone, presenting a more pessimistic view of relationships that seems to abandon the earlier focus on racism and intolerance, or at least pushes it into the background. The film concludes somewhat abruptly, suggesting a lack of further ideas. Still, this is a significant film deserving of viewing. It’s also clear how Fassbinder foreshadowed the cinematic style of Aki Kaurismäki, with its portrayal of "losers," detached gazes from bystanders, and general sense of awkwardness.

Source on TMDB