The scene in question saw a topless Kinski lie in a bed as a 30-year-old man got undressed and then got into the bed with her, before proceeding to lie on top of her.
Speaking about the controversial scene years later, Kinski was unequivocal.
“That was my first film, he was my first director, and he didn’t protect me,” she said. “Even though I didn’t know much aged 13, I knew that that was not okay.”
Kinski first raised her concerns about Wrong Move in 2011, spending the next 15 years trying to persuade Wenders to withdraw it.
Mounting backlash over Nastassja Kinski’s scene in Wrong Move
Last month, speaking at the German Film Awards while collecting a lifetime achievement award, Wenders addressed the controversy.
But his comments were widely interpreted as framing Kinski’s demands as a threat to cinematic freedom rather than a legitimate grievance, suggesting that editing the film retrospectively would require a broader industry-wide discussion.
The backlash was swift, with fellow filmmaker and Babylon Berlin actor Julius Feldmeier publishing an open letter to Wenders, writing that ‘it’s your responsibility alone to set things right’.
Within days, Wenders reversed his course entirely.
‘I recognize that Nastassja Kinski should have been better protected back then’
In a statement published on his foundation’s website, as well as on Instagram, he announced that the Wim Wenders Foundation, which owns the film, would withdraw it from all current channels of distribution.
“As the only person responsible at the time for Wrong Move who is still here, I recognize that Nastassja Kinski should have been better protected back then,” he wrote.
“For that, I apologize to you, Nastassja, unreservedly, no ifs or buts.”
Streaming, TV and distribution partners have been instructed to remove Wrong Move from public access.
For academics who study the treatment of young women in the film industry, the decision carries significant weight.
‘A film director’s ego does not matter more than that’
Professor Tanya Horeck, a Professor of Film and Feminist Media Studies at Anglia Ruskin University, told The Mirror that the outcome was meaningful, even if it took far too long.
“It took Wim Wenders an incredibly long time to address and honour what she wanted to happen,” she said. “The film as a piece of art is not more important than the fact that a child was harmed. A film director’s ego does not matter more than that.”
Professor Horeck was careful to frame the case as part of a broader reckoning rather than an isolated incident.
“There is not a time limit on these cases. Trauma is a very complicated thing,” she said.
“You can’t separate what happens on set from the final product. We need to recognise the harm that has occurred on sets, and acknowledge that that has to be part of how cinema is now framed and viewed.”
Kinski’s case is not without precedent.
She previously campaigned successfully against a television film directed by Das Boot’s Wolfgang Petersen, in which she appeared naked at the age of 15, reaching an agreement with broadcaster NDR over its distribution.
Wenders, 80, is one of the most celebrated German directors of the postwar era, with films including Wings of Desire, Paris, Texas and Perfect Days to his name.
Kinski herself went on to star in more than 60 films across Europe and the US: including Paris, Texas, collaborating with Wenders again in 1984.