DHe had played the Nazi so many times, the German with eyes made of frozen steel, forged in hell. Well, in Udo Kier’s last major appearance on screen, in Kleber Mendonça Filho’s “The Secret Agent,” he was Hans, a tailor in 1970s Brazil. The corrupt police chief shows him off to a visitor like a carnival attraction. The commander demands that he should show his scars. But Hans gets up, walks around the room, swears in German; his eyes flash angrily. He’s not an escaped Nazi, but a Jew, but he obviously wants to keep that a secret. The scene is like a film within a film – about Udo Kier.