In 1984, Kinski had top-billed roles in three films of markedly different stripes: a Cannes hit from an auteur at the top of his powers (Paris, Texas), an ensemble American comedy (The Hotel New Hampshire), and this considerably smaller-scale, sepia-toned drama on the lingering aftereffects of war. As a Yugoslav immigrant in 1940s Pennsylvania, Kinski is the undeniable center of attention in Maria’s Lovers, bickered over by the movie’s male characters—a scarred war veteran, a straight-and-narrow captain, and a traveling, guitar-slinging drifter—but keeping the rest of the film at an enigmatic, restless remove.