Mother Küsters Goes to Heaven 1975

Emma Küsters, a working-class woman in Frankfurt, leads a modest life at home with her son and daughter-in-law while she quietly pounds away at cottage-industry work assembling electric plugs. The stability of her day-to-day existence is shattered when she learns that her husband Hermann, a tire-factory worker, has killed his supervisor (or the supervisor’s son) and then taken his own life—an act that appears to be driven by the tremors of layoff announcements and the creeping threat of economic insecurity.

A wave of reporters descends on the family, weaponizing the tragedy for sensational headlines and TV soundbites. Emma finds little comfort from her son Ernst or from Helene, who retreats on holiday, and even from her daughter. Desperate for answers and a sense of justice, she turns to Karl Tillmann Karl Tillmann and Frau Thälmann Frau Thälmann, two members of what turns out to be the German Communist Party (DKP). The two greet her at Hermann’s funeral and invite her into their home, a space Emma begins to see as a possible avenue for making sense of the upheaval around her.

The Communists see her husband as a revolutionary-turned-victim of a brutal capitalist system, but Emma herself is skeptical. Her daughter Corinna Corinna cautions her to stay away, pointing out the gulf between the comforts enjoyed by those in power and the harsher reality faced by workers in the East. An article about the tragedy by Jörg Niemeyer Jörg Niemeyer, a photojournalist who has lingered on the family’s story, stirs Emma’s curiosity and complicates her loyalties—her daughter’s defense of Niemeyer, grounded in the idea of him “earning a living,” adds another layer to the moral puzzle.

Back at the factory, Emma discovers that the pension scheme will not apply to her case, and the workers’ council and the company board appear to be aligned on the matter. The family fractures: the daughter leaves, Ernst and Helene return from holiday with plans to set up home on their own, and Helene’s pregnancy creates tension within the household. Emma, uneasy with the passivity she perceives in the Communist party, grows intrigued by Karl’s newspaper piece but fails to find the margin she seeks within their structuring. Her search for meaning pushes her toward a broader, more radical answer.

A young paper seller, who promises to stand by her in clearing her husband’s name, becomes a lure toward a different political current. Emma’s appetite for action intensifies as she finds the Communists’ tactics too restrained and too slow for her sense of justice. She crosses over to a small group of anarchists—a smaller faction, but one that claims to embody more spirit and urgency—and the film charts how this shift unsettles her relationships and alters the trajectory of her grief.

The story ultimately unfolds in two endings, a deliberate choice by Fassbinder that underscores the film’s central inquiry. In the first ending, Emma’s disillusionment with the political establishment grows as she becomes drawn to more aggressive, organized movements, highlighting the bloodthirstiness that the media of 1970s Germany can cultivate when chasing a sensational narrative. In the second ending, Emma aligns with a marginal anarchist faction, an option that amplifies her sense of autonomy even as it alienates those around her. Fassbinder’s critique extends beyond the media’s hunger for drama; it casts a caustic eye on a society dominated by self-interest and a chilling reluctance to offer genuine solidarity to a grieving mother.

Throughout, the film casts a wary light on the moderation and “armchair activism” of the small German Communist Party, juxtaposing Emma’s personal tragedy with a broader commentary on how political groups, media, and everyday bystanders respond to catastrophe. The result is a stark, unsentimental portrait of a woman navigating grief, loyalty, and the competing pressures of ideology, work, and survival in a society renowned for its contradictions.