German director Masha Schilinski brought Buzzy's "Fall of Fall" to the Cannes game, haunting her when she wrote the feature on the farm with Louise Peter.
"We have spirits and ghosts in it, and the ghosts of this old farm," she said.
"When you enter a room, you don't know what's going on there, but you still feel it. That's what we were like when we wrote. The place has been abandoned for 50 years, but everything still exists, including a spoon that the farmer put down for the last time."
It reminded her of "time at the same time," she said. In the film, launched by MK2, over a period of 100 years, four girls from different periods have lived on farms in the Altmark region of Germany. Times and Tragedy - blending seamlessly.
"It's very important to me: we are immediately looked at everything by the protagonist's eyes. First, the movie is about remembering. About our memories and how we perceive. At first, you're trapped in your body and in your body, but as time goes by, as time goes by, you can look at yourself from the outside."
Born in Berlin, Schilinski made her debut with "The Dark Blue Girl" in 2017. But in many ways, the ambitious "The Voice of Fall" (produced by Lucas Schmidt, Lasse Scharpen and Maren Schmitt), and Zentral and ZDF Studios are also historical in the drama - feel like her first film.
“This is the first time I left the film school (Baden-Württemberg) and we have a budget that fits this, but it doesn’t have to fit it into a bigger project.”
Still, she was not focused on politics or the “great trauma of war”, and she had barely shown her role (children who witnessed death, a powerfully sterilized dairy maid or a girl who tore between East and West Germany) could not speak. But those moments change them forever.
She said: "They burn in my movies. In my movies, what we can't see is just as important. What can we really access when we talk about memory? What part of our past? Because of the way memory works, sometimes it's not the biggest trauma or the biggest event.
“We ask ourselves: ‘Do you have physical memories, memories of what might happen before we even were born?’ Things we don’t know, but they shape us, things we can’t access because we lack the words to describe them. She asked
In "The Sound of Falling", the answer seems to be yes, her characters are connected to each other, as if through an invisible string that cannot break the cycle.
"They can't escape except through death. This is something many people are thinking about, even if they have a strong desire to live," she said.
"This is what we come to the world: we want to survive. I'm tempted to know what this will needs to happen in the end," she said. "As a filmmaker, I need to connect with my characters and really look through their eyes. I do feel myself for them and want to find out what's about them, and only to a certain extent with them, I may not always find excuses for their suspicious behavior or horrible decisions, but I found an explanation."
Schilinski is preparing to attend the Cannes premiere and is already considering other stories. But most importantly, she wants to play.
"The film is a relatively young art form and I want to feel like I'm still exploring its possibilities. It's very satisfying to be able to do that. That's what I hope: There are no limits."