Courtesy of Silviu Ghetie/Micro Film/Berlin Film Festival; MICHAL CIZEK/AFP via Getty Images
Your film seems perfectly attuned to this moment in time, right down to the anti-viral masks the actors are wearing. Were you planning the film before the pandemic hit?It was planned much before the pandemic. Years before, actually. It took us a while to find financing. After the [first] lockdown, we had to decide if we wanted to wait or make it right away. We didn't know how long it would be postponed —I know about projects that have been postponed a year because of this epidemic.
Of course, when you put on a mask things change. We did the rehearsals with masks on—even on Zoom, with people at home. And everything became much more surreal because there you had people with their mouths blocked but still shouting at each other, insulting each other. Of course, I liked that enormously. We searched for different types of masks, both to provide the anthropological side of what we were going through but also to enhance the bad taste style of the movie.It depends.
I think that seriousness cannot be separated from the funny and the ridiculous. Hannah Arendt, when she wrote her report about the [Adolf] Eichmann trial in Jerusalem in 1961 or 1962, she mentions that she had to laugh so hard all the time because everything Eichmann was saying was so ridiculous. In Hannah Arendt you have both: she could see the tragic, horrifying realities of the Holocaust.
It's a fairly tame porn video, given what you can see on the Internet. But it still feels shocking somehow. The film's subtitle is:"a sketch of a popular movie." By that do you mean this is the closest you're going to get to making a popular, or mainstream, movie?
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