So fatuously contrived that it does not work as metaphor, drama or comedy, or even blasphemy.

A sequel that Wenders presents as a rather pretentious aesthetic exercise, which collapses like a fallen angel with its flexible narrative. [Full review in Spanish]

It is all fairly messy, and chaotic and confusing to boot at the action-packed finale. But Wenders and his photographer, Jurgen Jurges, also communicate a compelling sense of their city of angels, Berlin.

Disappointing sequel