adapts a work that defines the tragic, hedonistic and dysfunctional era of the Weimar Republic from a writer widely known for his children’s books.
Indeed, that dissolution is evident in the film’s portrayal of decadent Berlin, which despite its permissiveness was far from liberated and enlightened. “Sexuality is always an important theme, in any narrative,” says Graf, pointing out that the Berlin of that period was a very “misogynistic society.” While there were outstanding female artists, there was also “tremendous amounts of prostitution and violence against women.
The film, which Graf co-wrote with Constantin Lieb, captures the sense of tension and foreboding that was evident in Kästner’s book. In creating the world of 1931 Berlin, Graf says he wanted to “suggest something like slivers of the time, particularly on the surface of the images,” using documentary footage and his own short street scenes shot with Super 8mm in order to depict the distance of time. “This is a rough narrative, little gloss and no longer the Golden Twenties. But in the chaos of the time there is also an enormous vitality; you have to show it like a kaleidoscope, I thought, and yet like everyday life.
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