concept of a young man "on a journey of self-realization". Wenders also toyed with the idea of whether such a journey would be a mistake, and hence Handke and Wenders made the film as a refutation of Goethe's novel and German Romanticism, in which their character suffers because of his travels. Wenders also stated Wrong Move is about "how to be able to grasp the world through language." Following The Goalkeeper's Fear of the Penalty (1972), Wrong Move was Wenders' second film collaboration with his friend Handke, who was already a respected author. Handke wrote the screenplay two years after his mother had killed herself, which had deeply affected him and influenced the story's dark tone. Filming The film was shot over four weeks, including from a helicopter over the Elbe River. Landscape shots in the film were inspired by the 18th-century paintings of German artist Caspar David Friedrich. The film marks the debut of Nastassja Kinski, whom Wenders' wife discovered in a disco in Munich. She appeared topless in Wrong Move, and was 12 years old at the time of filming. Later she played one of the leading roles in Wenders' film Paris, Texas (1984), as well as appearing in his Faraway, So Close (1993). Release On its international release, the title Falsche Bewegung proved challenging to render in English. The literal meaning is "False Movement", but in the United Kingdom it was released as The Wrong Move, while in the United States, it was titled The Wrong Movement. In 2016, The Criterion Collection released the film as Wrong Move on DVD and Blu-ray in Region 1. It was included with Alice in the Cities and Kings of the Road in the boxset Wim Wenders: The Road Trilogy. Reception Critical reception In 2008, Chris Petit of The Guardian said initial reaction to Wrong Move was that "it felt talky and clotted, but now looks among the best of the work and much more considered than the popular Wings of Desire (1987)." Critic Richard Brody writes in The New Yorker that Wrong Move is one of Wenders' best films, calling it "a virtual documentary of West German sights and moods." Dave Kehr, writing for the Chicago Reader, states "It's Wenders's most dour film, and the grim tone takes its toll. There is, though, a solid and disturbing talent at work here." Jonathan Romney calls it "a film dense with philosophizing