People tend to forgive artistic geniuses for their human imperfections when their talent is so monumental – this could also apply to any super-celebrity with landmark achievements in any field from sports to politics to music – but at a certain point, there is a limit to what society will tolerate. The protagonist of Baal, a 1970 film adaptation of the Bertolt Brecht play, is the embodiment of this. A former office clerk turned itinerant poet and musician, Baal’s work propels him to the level of a literary icon, beloved by the intelligentsia and the common man. He could care less because he hates everything, including the society that helped shape his talent. More importantly, he hates himself and that self-destructive urge informs his every act, making him one of the most nihilistic and anti-social characters even conceived for the stage or screen.