Rainer Werner Fassbinder, one of the most important figures of the new German cinema, made many iconic films as a director, screenwriter and even actor. He made 40 films in his 14-year career. Although his early films had nothing to do with the cinematic grammar of Hollywood, Fassbinder's 1974 film Fear Eats the Soul is famous for being largely inspired by the work of Douglas Sirk. Especially All That Heaven Allows, the film made by Douglas in 1955. Which many call Fear Eats the Soul is almost like a "remake" of All That Heaven Allows. The film follows the same basic melodramatic tradition inspired by the work of Douglas Sirk. But compared to Douglas Sirk's Hollywood classic, Fear Eats The Soul has more ambitions to explore issues of class, sexuality and racism in society. His attempt to provoke a political debate in the film and his leftist melancholy differentiate this film from other melodramatic love stories. His theatrical background and his love of long shots give this film a unique style. His experience working in the theater influences not only the acting style of this film, but also the staging. As in the middle of the film, Emmi and her colleagues take a lunch break on the stairs. Her colleagues isolate her due to the fact that she is dating a young Moroccan Gastarbeiter (guest worker) from another country. Her colleagues decide to distance themselves from Emmi after an unhappy conversation. The sequence ends with Emmi sitting alone in the stairwell. The sequence begins with a masterful shot of Emmi and her colleagues during a lunch break in the stairwell. Like many shots in the film, Fassbinder frames the shots through doors. This makes spaces narrower. The 1.33:1 aspect ratio of this frame reduces the space even... in the center of the paper... it doesn't bother me anymore” The sequence in which the new Yugoslav woman joins the cleaning crew it's almost like a sequel to the first stairwell sequence. Using the same camera angle and movement not only creates a feeling of Déjà vu for viewers, but also implies how fear changes people's behavior. The fear of not being a "team" and of being isolated from others is perhaps the answer of this film. The entire stairwell sequence shows Fassbinder's love for observing human nature. His staging helps him explore the meaning of the sequence without using much dialogue and human interaction, making this sequence different from most of the film. The sequence itself is less dramatic and sentimental than most of the film. But the final part of the sequence makes viewers identify with the character more than with most of the film, making the sequence one of the most memorized sequences of the film..