unfavorable aspects of life. Compared to the other two preceding films in the "sister series", Love and Fear contains key melodramatic elements that focus on one's feelings and anguish. It does not address politics as heavily as the other films, but more on von Trotta's take of the distinction between men and women in society. This film was nominated for the Palme d'Or Award at the Cannes Film Festival in 1988. Sheer Madness Sheer Madness (Heller Wahn, 1983), one of von Trotta's popular feature films, also uses suicide as an important part of the storyline. An analysis on the film given by authors Susan Linville and Kent Casper reads: "suicidal states of mind may stem not from negative distortions of external reality, but from an accurate assessment of the way things are." Within this story, once again, women's feelings are investigated through the friendship between two females, Ruth and Olga. This film gave the impression that, supposedly, von Trotta was a "man-hater." Von Trotta won the OCIC Award-Honorable Mention at the Berlin International Film Festival in the Forum of New Cinema for Sheer Madness in 1983. This film was also nominated for the Golden Bear at the Berlin International Film Festival in the same year. Rosa Luxemburg Von Trotta's 1986 eponymous film about the feminist and marxist socialist Rosa Luxemburg examines both her "life as a public revolutionary and her private experience as a woman". Barbara Sukowa, who stars in several of von Trotta's films, won the Best Actress honors at Cannes in 1986 for her delivery of the main role. Through her cinematic vision, von Trotta returns to the theme of "the political and the personal", giving fair attention to both Luxemburg's personal life as a female in society and her political life as a "public revolutionary". Rosa Luxemburg was nominated for the Palme d'Or at Cannes Film Festival in 1986. This film won the Guild Film Award-Gold at the Guild of German Art House Cinemas in German Film in 1987. Rosenstrasse Looking forward to some of von Trotta's more contemporary films, this same idea of female bonds and their emotions is still center stage, such as in her piece from 2003, Rosenstrasse. The film uses melodramatic elements, like in Paura e amore (1988), to express the emotions of the characters. The difference here is that Rosenstrasse is a "maternal melodrama." There are three overlapping familial connections involving "mother-daughter