German film director who, along with Rainer Werner Fassbinder (Fassbinder, Rainer Werner) and Werner Herzog (Herzog, Werner), was one of the principal members of the New German Cinema of the 1970s.

During the late 1960s Wenders studied film at the Munich Film Academy while working as a film critic. After directing eight short films for the academy, he made his first feature film, the thriller Die Angst des Tormanns beim Elfmeter (1971; The Goalie's Anxiety at the Penalty Kick). In 1976 he wrote, directed, and produced Im Lauf der Zeit (“In the Course of Time”; Eng. title Kings of the Road), a “buddy” picture pairing a linguist with a movie projector repairman who can barely communicate as they travel across Germany together. Der amerikanische Freund (1977; The American Friend), based on Patricia Highsmith's Ripley's Game, explores the concept of dislocation, or separation. For this film, Wenders cast his longtime idol, film director Nicholas Ray. In 1978 Wenders went to Hollywood to direct Hammett, the story of American detective fiction writer Dashiell Hammett (Hammett, Dashiell). Problems between Wenders and executive producer Francis Ford Coppola resulted in the release of only a truncated version some years later.

Wenders achieved international fame with his next feature, Paris, Texas (1984), which won the Golden Palm at the Cannes Film Festival. In 1987 he received the best-director award at Cannes for the hauntingly beautiful Der Himmel über Berlin (“Heaven over Berlin”; Eng. title Wings of Desire), in which angels roam modern-day Berlin. His sequel to Wings of Desire, entitled In weiter Ferne, so nah! (1993; Faraway, So Close!), was far less successful artistically.

Wenders's films are notable for their lush visual imagery, largely because of the talents of his most frequent collaborator, the cinematographer Robby Müller. Wenders's later work includes Lisbon Story (1995), The End of Violence (1997), Buena Vista Social Club (1999), The Million Dollar Hotel (2000), and Palermo Shooting (2008).