Ein fiktiver Tanzfilm, erzählt wie Verstorbene ins Jenseits befördert werden. Spanischer Flamenco-Tanz wird in einem alten ostdeutschen Schiffshebewerk aufgeführt und erzeugt zwischen Bewegung und Stille, Abschied und Ewigkeit eine Stimmung des Aufbruchs.
Drei Fragen an die Regie
1. Short Film has a unique way of telling stories and exploring themes. What is it that fascinates you about the short format?
Michael Fetter Nathansky: My professor at the filmuniversity used to say, that feature films are the equivalent to short stories and short films to poems. My interest for film came through writing poems. And even though they were really cheesy and I find it hard to look at them nowadays, I think that thinking in the structure or the rhythm of a poem is still my first "unconcsious tool" when I start to make a shortfilm. And if you want, you can see a parallel in this film, where the dance of the flamenco and the building of the ship lift seem to rhym, but as another profesor told me: the author is his own worst interpreter I will be quite now.
2. The program your film is selected for is called “Hier hast du Beine, jetzt kannst du laufen.”: What connection do you see between your film and that title?
Michael Fetter Nathansky: Besides from the fact, that obviously the movement of legs, be it in the dance or the walking of the protagonist plays a big part in SALIDAS, my first question to the title is: who is speaking? who is "giving" us the legs? Is it a mother, a god? And I think this question somehow also floats through Salidas, which takes place in this ship lift, which we tell as some kind of funeral home, but at the same time it could also be a cathedral. There is a higher force in your question as there is one in our film.
3. What film has inspried you most to make films yourself and what part of it do you see in your own work?
Michael Fetter Nathansky: I could answer this question every day with a different answer, so here is my answer from friday, the 15.10.2021. This film is in a way very different from all the other films I have made and as music plays a big role I guess it is music that inspired me the most. In this case I think it is the music of Devendra Banhardt, who is a master in mixing the most opposite elements: melancholy with playfulness or irony with pathos. There is a great freedom in his music. I never know what he is doing, but I am always ready to dive in. And maybe there is a similarity in the pleasure of finding the connection in the contrast. But while I'm writing this I feel the urge to make sure to point out the biggest contrast between us, which takes place in the field of quality.
Drehbuch: Michael Fetter Nathansky
Kamera: Valentin Selmke
Produktion: Virginia Martin
Regie: Michael Fetter Nathansky
Sales Agent: Michael Fetter Nathansky
Schnitt: Kai Eiermann
Sound Design: Lorenz Fischer
Sound Mixing: Lorenz Fischer