There was Bruno Ganz, in The American Friend, at the Wim Wenders film festival showing at the Orson Welles Cinema, in Cambridge, year 1984. Framed by circumstance and enchanted by Dennis Hopper, he seems older than his character, sadness trapped in failing systems: body, mind, world.
Again, in Wings of Desire, 1987. Trapped angel in distress. More failing systems: heaven, earth, humanity. An ode to the poisons of being, a song to the sensate life.
Then, to Hitler, the demigod of failed systems in Downfall, 2004.
Always, more Bruno Ganz, growing older like looking in the mirror. He turned up, recently, in Kraftidioten 2014, weirdly translated to In Order of Disappearance. With Stellan Skarsgård, the new Bruno Ganz (more, later).
The thing about Bruno Ganz is the echo. Fassbinder, Volker Schlöndorff, Herzog, Wenders, writers like Peter Handke, Max Frisch, and of course, back to Kafka, seemingly bound-up, investigating heroic, human efforts at failing to make sense of failing systems.
And, with Wenders, this.