Does heaven exist? With well over 100,000 plus recorded and described spiritual experiences collected over 15 years, to base the answer on, science can now categorically say yes. Furthermore, you can see the evidence for free on the website allaboutheaven.org.

Available on Amazon
also on all local Amazon sites, just change .com for the local version (.co.uk, .jp, .nl, .de, .fr etc.)


This book, which covers Visions and hallucinations, explains what causes them and summarises how many hallucinations have been caused by each event or activity. It also provides specific help with questions people have asked us, such as ‘Is my medication giving me hallucinations?’.

Available on Amazon
also on all local Amazon sites, just change .com for the local version (.co.uk, .jp, .nl, .de, .fr etc.)

Sources returnpage

Wenders, Wim

Category: Filmdirectors

Ernst Wilhelm "Wim" Wenders (born 14 August 1945) is a German filmmaker, both of documentary films and fictional films; playwright, author, painter and photographer.  He is also a doctor of theology

In Conversation with Wim Wenders and Donata Wenders  by Sabine Mirlesse

I’m a doctor of theology… it’s rare for a director. It’s an honorary doctorate that was given to me because some cinephile monks liked my films a lot, especially Wings of Desire.

He is considered one of the most important figures to have emerged from the “New German Cinema” in the 1970s and was a founding member of the German film distribution company “Filmverlag der Autoren”. In 1977, he established his own production company in Berlin, “Road Movies,” which has produced many of his films.

Wenders has had nine films in competition at the Cannes film festival; has won best director (Wings of Desire, 1987), the Grand Jury prize (Faraway, So Close!, 1993) and received the Cannes Film Festival’s Palme d’Or in 1984 for his movie Paris, Texas.  He won the Golden Lion at the 1982 Venice Film Festival for The State of Things. He has also been nominated three times for the Academy Awards for his films Buena Vista Social Club (2000), Pina (2012), and, most recently, The Salt of the Earth (2015).

Wenders has been the president of the European Film Academy in Berlin since 1996 and is Professor of Film at The European Graduate School / EGS, and  Professor für Narrativen Film at the Hochschule für bildende Künste, Hamburg.

And he is a deeply spiritual man.

In Conversation with Wim Wenders and Donata Wenders  by Sabine Mirlesse

It’s spirituality driving my work. You cannot separate. I cannot say I have a professional life and apart from that I am also a spiritual person. I cannot keep that apart.

The faith and spirituality guiding Wim Wenders’s life

Wenders was born Ernst Wilhelm Wenders on August 14, 1945 in Düsseldorf, which then was located in the British Occupation Zone of what became the Bundesrepublik Deutschland (Federal Republic of Germany, known colloquially as West Germany until reunification).Wenders was born into a traditionally Catholic family.

Wim Wenders on Pope Francis Doc and How Faith Has Shaped His Work -  5/10/2018 by Scott Roxborough

Every artist basically is the sum of his experiences. And spiritual experiences are very important. You can, of course, decide to live a life that is opposed to that. I was a radical student in 1968, and I turned away from my religious upbringing. I came back in a big way in the ’80s and found that I hadn’t really lost it. It was very much linked to the death of my father. Seeing him face death without fear, and actually with some anticipation and joy, was an incredible experience.

Wenders put in an appearance at Cannes along with his friend the Rev. Dario Edoardo Viganò, to take part in the Festival Sacré de la Beauté, a celebration of religion and art that has occurred alongside the film festival for the past four years.  Viganò is the prefect of the Vatican’s Secretariat for Communications.  Wenders, then 71, met the monsignor at the 2004 Venice Film Festival, where the director was receiving the Vatican’s Robert Bresson Prize for “testimony, significant for sincerity and intensity, of the difficult passage in search of spiritual meaning in our lives.

And here we have further confirmation

A View from Outside: An Interview with Wim Wenders - By Spencer Lewerenz

Wenders ….. early films are road movies - stories of characters in search of something, reflections of his own spiritual quest.

In other words, after the initial rejection of his religion, Wenders has followed the ‘hero’s journey', in search of his own Holy Grail.  And of course, it is reflected in all his films, Wenders haunting and beautiful Wings of Desire, is his masterpiece about trench-coated angels who dwell unseen among the inhabitants of Berlin.  But this quote rather indicates Wim’s spiritual life and his films and filmmaking are all part of the same canvas:

A View from Outside: An Interview with Wim Wenders - By Spencer Lewerenz

Your films frequently acknowledge the spiritual dimension of life, whether very directly and overtly, as in Wings of Desire, Faraway, So Close!, or in a more indirect way, in Until the End of the World or in The Land of Plenty. Do you think it is natural for artists to address spirituality? Or, to put it another way, is there a relationship between spirituality and art?

Sure. Art—and cinema as well—have tried to explain the world, ever since their beginnings. And the world is not just what we see. Movies, in spite of what you might think at first, can very well show the invisible. Actually, a lot of films do that, only they use the scary side of the invisible world. There's multitudes of evil spirits, devils and monsters in the history of cinema. The "good forces" are relatively sparse in comparison. I mean, the most successful series deal with metaphysics, like Star Wars, Lord of the Rings or Harry Potter. Not necessarily in a "spiritual" way, but at least you see the deep craving that people have for the "invisible." For an artist, to avoid spirituality would be like avoiding the very essence of what you do. As an industry, cinema has to be entertaining, more than anything else. As an art, as our common language, as the most popular form of expression, cinema has to address all issues of life, including metaphysics................

My own spiritual journey is recorded, and can be deciphered, in my movies. Filmmakers (like myself) reveal so much of their lives and of their feelings and their convictions, that I feel it would be wrong to also talk about it. All of a sudden, that would become private. And there is that precious line between "personal" and "private" that I want to respect.

There are many ‘mystic’ characteristics in Wim Wender’s point of view.  He values the humanity in Jesus’s tuition, but abhors the twisting of his goodness by those who seek power in institutions.  Furthermore he sees good in the Qu’ran, and is attracted to many other Mystic movements.

Alain Elkann interviews Wim Wenders Mar 11, 2015

Yes. The Australian aboriginals that live in the desert where I shot many photographs are people of extraordinary beliefs. They believe that they belong to the earth and not that the earth belongs to them. I have spent a lot of time in Australia, and this was very important to me………………………..I think I became a photographer in Australia, in that landscape. That’s where I started to have a personal relationship to space, to the horizon, to places, driven by their ideology or belief – even it is not a religion – that landscapes are mythical beings.


Career and approach to film making

Wim’s father, Heinrich Wenders, was a surgeon.  Wenders initially studied medicine (1963–64) and philosophy (1964–65) in Freiburg and Düsseldorf inspired by the good work his father was doing. However, he dropped out of university studies and moved to Paris in October 1966 to become a painter. During this time, Wenders also became fascinated with cinema.

There is a telling quote in the observations which reveals the close ties Wim had with his father.  After he had plucked up the courage to tell his father he wanted to be an artist, his father simply smiled and said that he had wanted him to find that out for himself. 

Alain Elkann interviews Wim Wenders Mar 11, 2015

I always wanted to be a painter, and I learned more from painters than photographers. When I started making films, I conceived them as an extension of paintings. One of my role models, for example, was Andy Warhol who had started making films as well. I wanted to be a painter, and I thought making films was a step along that path. But then I became a storyteller, and in the mid-nineteen-eighties, I began to take photographs. For me, my photographs are like painting.  I still do many watercolours. I haven’t done an oil on canvas in thirty years, but I travel with watercolours. But I’m too busy to be a painter because a painter can only be a painter.

Wenders’ early films, reflect his own longing for spiritual connection in allegories often based on the desire of men for women or vice versa – almost insatiable longing. 

Paris, Texas is perhaps the best example of this how the longing for connection, divine love and  ‘beauty’ [personified by actress Nastassja Kinski ] becomes entirely destructive, love turns to obsession.  Nastassja was in both the Wim Wenders dramas Paris, Texas (1984) and Faraway, So Close! (1993).

As time proceeded, the ‘sensitive’ also became more sensitive and Wenders’ later films attempt to concentrate on all that is mystical, or magical and ‘unseen’ rather than simply add to the appalling violent, loud and insensitive ‘entertainment’ churned out by Hollywood.  He too cannot watch horror movies!

A View from Outside: An Interview with Wim Wenders - By Spencer Lewerenz

If I understand The End of Violence, you were dealing with how Hollywood movies use violence to exploit Americans' fear of what they don't understand. …. How has your understanding of this tactic, this tendency of Hollywood and the media to create "bogeymen," influenced the way you make movies?

I'm not into bogeymen of any sort. I can't even watch a horror film, and I can't watch a cynical film, either. So Hollywood has influenced me only in so far as it increased my eagerness to reinforce the armies of the more friendly spirits. That's why I introduced the guardian angels in Wings of Desire or Lana in Land of Plenty...
I can identify much more easily with somebody who suffers than with any of the supermen that most movies present to me. Paul [in Land of Plenty] is broken. He has been victimized, he has been exploited, he has been outcast. It is not easy to like him in the beginning. But seeing him through Lana's eyes makes you discover a whole different person. One who is trying to be good, after all, to be of service. I can identify much more easily with somebody who suffers than with any of the supermen that most movies present to me. Paul is real. Real people have flaws.
Only my guardian angels in Wings of Desire were flawless. But that's why they dreamed of becoming human. Christ, when he walked "among us", preferred the company of whores and crooks to the company of hypocrites. As a filmmaker, I couldn't agree more.

Wings of Desire and Faraway, So Close! portray two angels with very different personalities: Damiel, who longs to experience life through the senses, and Cassiel, the lonely melancholic who is not at all at home in the world. Are you more of a Damiel or more of a Cassiel?

I'm most definitely of the Damiel tribe.

Wenders left Germany in 1995 and moved to the USA.  He lived in the United States for about ten years, but always kept his German passport. He shot seven or eight films in Los Angeles,  but then decided he wanted to shoot one in German with German actors. The last time he had worked in Germany was 1992.

Alain Elkann interviews Wim Wenders Mar 11, 2015

I have to say that I left the United States for political reasons as well because I wasn’t happy. When I left Germany in 1995, I left because it was an unhappy country. Germans hadn’t dealt with the reunification well. Now Germany has a different spirit. After twenty years, it is starting to think like a unified country.


Later years

During his later years, Wenders has concentrated a great deal on his photography. He has/had a gallery in London called the Haunch of Venison, where his photographs are/were sold.  He produces six copies of each image. He has also shown personal photographs, which have never been put up for sale. and showed twenty-four of them for the first time in Berlin in 2001 and another twenty-six at the Guggenheim Bilbao, and then China, Australia, and New Zealand.

And his films and photographs are now very ‘of the moment’ dealing with climate change, the loss of spiritual connection and poverty of mind, spirit and purse!

Alain Elkann interviews Wim Wenders Mar 11, 2015

I am ….. interested in politics, but on a more global rather than local level. I am very interested in the problems of globalisation. As a child – I was born in 1945 – everyone was afraid of the bomb, but today everyone is afraid of terrorism. I believe that today’s atomic bomb is the disparity between rich and poor……..  In and of itself, Islam is a peaceful religion. …….. The Islamic religion doesn’t teach hate. It is because there is so much poverty in this world that fundamentalists can become terrorists.….. combatting terrorism without combatting its causes is wrong. The cause is the growing gap between rich and poor.




 In the autumn of 2012, the Wim Wenders Foundation in Düsseldorf was established.  It created a legally binding framework to bring together the cinematic, photographic, artistic and literary lifework of Wim Wenders in his native country and to make it permanently accessible to the general public worldwide. The non-profit foundation is intended to ensure that the whole body of work remains beyond the reach of any form of private self-interest.  All proceeds will be used to finance the purpose of the foundation: the promotion of the arts and culture through the preservation, restoration, research and distribution of Wenders’ work on the one hand and through the support of young talents in the area of innovative cinematic narration on the other.

“People around the globe have seen my films, many have been influenced by them, and some of these films have become classics or cult films. In this sense they no longer belong to me anyway, but instead to a collective memory of cinema-goers of every age and many nationalities. It has been my desire for many years that in the future my work might belong only to itself, and thus to everyone. There is now a realistic and unique opportunity for this dream to come true.”

Film time is always very condensed life time, …..You work for maybe three years on a movie and then you see it for 90 minutes or 100 minutes, so it better be worth it…….It’s not so much the story, but something more essential, which is:
Why are we here and what are we living for?
In a strange way, every movie has to respond to that. And if you’re a man of faith like I am, who believes we are watched by a God who loves us, then a movie sort of has to reflect that. And if it doesn’t, then what did I do for three years?"



In addition to his films, Wim Wenders has also written a book “Once” -  a travel diary along with text, a bit like a series of poems.

Full length feature films [selection]

  • 1970 , Summer in the City -  First full-length feature film (Dedicated to The Kinks)
  • 1972 , The Goalkeeper's Fear of the Penalty (UK) or The Goalie's Anxiety at the Penalty Kick (USA) , Die Angst des Tormanns beim Elfmeter , Adaptation of a novel by Peter Handke
  • 1973 , The Scarlet Letter -  Der Scharlachrote Buchstabe , Adapted from the novel by Nathaniel Hawthorne
  • 1974 , Alice in the Cities , Alice in den Städten , First part of Wenders' Road Movie Trilogy
  • 1975 , The Wrong Move , Falsche Bewegung , Second part of Wenders' Road Movie Trilogy, with Nastassja Kinski
  • 1976 , Kings of the Road , Im Lauf der Zeit , Third part of Wenders' Road Movie Trilogy
  • 1977 , The American Friend , Der Amerikanische Freund , Adaptation of Patricia Highsmith's novel Ripley's Game
  • 1982 , Hammett -  Fictional story about Dashiell Hammett, American writer; based on a novel by Joe Gores
  • 1982 , The State of Things , Stand der Dinge -  A film crew in Portugal shoots a black-and-white science fiction film about the survivors on a post-apocalyptic Earth, titled The Survivors. The shooting stops when the production runs out of film stock and money. In an abandoned hotel, the crew waits for money to arrive or a sign from vanished producer Gordon. As they grow restless and bored, the film depicts some of their philosophical thoughts and emotional reactions.
  • 1984 , Paris, Texas – see observation
  • 1987 , Wings of Desire -  Der Himmel über Berlin , Written with Peter Handke. A guardian angel is tempted to prefer human experience over the outsider's immortality.
  • 1995 , Beyond the Clouds , Jenseits der Wolken , (with Michelangelo Antonioni)
  • 2004 , Land of Plenty -  based on a story by Scott Derrickson, with Michelle Williams and John Diehl.  “The Land of Plenty was shot on digital video, in just 16 days, on a budget barely worthy of the word shoestring.".
  • 2005 , Don't Come Knocking -  Script by Wenders and Sam Shepard who also played the main character.  Sam Shepherd is also a Pulitzer-winning playwright.
  • 2015 , Every Thing Will Be Fine -  Drama
  • 2016 , The Beautiful Days of Aranjuez -  Die schönen Tage von Aranjuez , based on the play for two persons by Peter Handke, filmed in 3D
  • 2017 , Submergence -  Grenzenlos , Adaptation from war journalist JM Ledgard's novel

Wenders has been married 5 times and he worked with all of his wives on at least one movie:
With Edda Köchl: Alice in the Cities (1974), Summer in the City (1971) and The Goalie's Anxiety at the Penalty Kick (1972);
with Lisa Kreuzer: Alice in the Cities (1974), The American Friend (1977), Wrong Move (1975) and Kings of the Road (1976);
with Isabelle Weingarten: The State of Things (1982);
with Ronee Blakley: I played It for You (1985), and Lightning Over Water (1980) and
with Donata Wenders: Beyond the Clouds (1995), Arisha, der Bär und der steinerne Ring (1992), Buena Vista Social Club (1999), The End of Violence (1997), Lisbon Story (1994), Land of Plenty (2004) and The Million Dollar Hotel (2000).

Documentaries [selection]

  • 1980 , Lightning Over Water - Documentary about the last days of Nicholas Ray
  • 1982 , Room 666 - Chambre 666 , Short documentary interviews directors on the future of cinema, including Steven Spielberg, Jean-Luc Godard, and Rainer Werner Fassbinder. Filmed at Cannes
  • 1985 , Tokyo-Ga -  Documentary about Japanese film director Yasujirō Ozu
  • 1989 , Notebook on Cities and Clothes  -  Aufzeichnungen zu Kleidern und Städten , Documentary about Japanese fashion designer Yohji Yamamoto.
  • 1995 , A Trick of Light -  Die Gebrüder Skladanowsky , the film made with the students of the Munich Film Academy is a combination of docudrama, fictional reenactment, and experimental photography to show the birth of cinema in Berlin where Max Skladanowsky and his brother Emil built a projector they called the Bioscop
  • 1998 , Willie Nelson at the Teatro - features 10 of Willie Nelson’s songs, performed at Daniel Lanois’ (producer of Bob Dylan and U2) studio, a converted picture theatre in Oxnard, California. The film alternates between film and video footage and features Emmy Lou Harris on backing vocals
  • 1999 , Buena Vista Social Club -  Documentary about Cuban musicians; made with Ry Cooder for which he received a nomination for the Academy Award for Best Documentary Feature:
  • 2003 , The Soul of a Man -  Documentary about Blues musicians, from the doc series Martin Scorsese Presents The Blues
  • 2007 , Invisibles -  Documentary, contributed segment "Invisible Crimes"
  • 2011 , Pina -  Documentary about the late choregrapher Pina Bausch, in 3D, premiered Out of Competition at the Berlin Film Festival and for which he received a nomination for the Academy Award for Best Documentary Feature:
  • 2014 , The Salt of the Earth -  Das Salz der Erde , Documentary about Brazilian photographer Sebastião Salgado for which he received a nomination for an Academy Award for Best Documentary Feature:
  • 2018 , Pope Francis: A Man of His Word , Papst Franziskus – Ein Mann seines Wortes , Documentary

There's a film of John Ford called The Searchers (1956) and sometimes I think that's [my] main topic. ... It's searchers. It's people who are searching, trying to define what they live for, trying to find [the] meaning of their lives, trying to find their role in life, looking for love, searching searching searching. That seems to be the key thing my characters are doing.[2015]


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