Christiane and Gudrun Ensslin, which made "feminist critics" give extra notice to this work in comparison to all other films that von Trotta has done. Critics question the way von Trotta structured the plot and why she positioned it from that of Christiane's character, Juliane, instead of from Gudrun (Marianne). The film is characterized by the use of multiple flashback sequences, jumping between present day to childhood and everywhere in between, breaking any chance of a linear structure. In this film, it is predominantly the Nazi era that influences Marianne and Juliane, albeit in different ways.A theme within Marianne and Juliane that von Trotta uses throughout her works is that of "the personal is political". In Marianne's jail cell, the sisters come to terms with "their personal and political differences". One take on this theme is that Marianne's personal past has fostered her political, terrorist present. In the story's present day, her political actions effect her personal life: she is sentenced to prison and dies in her cell, her husband takes his own life, and her son is put in danger. Not surprisingly, this film was the subject of much debate from conservatives who believed that Marianne's character as a terrorist was given too much understanding. This film won the AGIS Award, FIPRESCI Prize, Golden Lion Award, New Cinema Award, and OCIC Award at the Venice Film Festival in 1981, along with a few more listed in the awards section. Von Trotta winning the Golden Lion was a true achievement for women in film, for an honor of this stature had not been awarded to a female director since Leni Reifenstahl received "the Mussolini Cup" in 1938 for Olympia. In 1994 Ingmar Bergman listed it as one of his favorite 11 films of all time. Love and Fear or Paura e amore (in Italy), also known as Trois Soeurs (in France) or Three Sisters (1988) — von Trotta's sixth feature-length film — focuses on a set of three sisters: Olga, Masha, and Irina. It is through these females that von Trotta is able to present her opinions concerning the stature of females in society and the traditional politics of the time that play a role in shaping their lives. Once again, this film deals with sisters who yearn for significance in all aspects of their lives (Rueschmann, 168). Their constant quest for love is the way they cope with the