(NO TITLE)
AT 2015
Colour, 66 min., HD, 16:9, Stereo, German, subtitles in English
Int. Premiere Hofer Filmtage
Written, directed and produced by Ludwig Wüst Cinematographer Klemens Koscher Line Producer Maja Savic Assistant to the Director Thomas Hajnik Sound Neck Richardson, Lucas Ehold Sounddesign Tjandra Warsosumarto
With Gina Mattiello
ohnetitel-film.net
Colour, 66 min., HD, 16:9, Stereo, German, subtitles in English
Int. Premiere Hofer Filmtage
Written, directed and produced by Ludwig Wüst Cinematographer Klemens Koscher Line Producer Maja Savic Assistant to the Director Thomas Hajnik Sound Neck Richardson, Lucas Ehold Sounddesign Tjandra Warsosumarto
With Gina Mattiello
ohnetitel-film.net
Synopsis
A woman leaves home and drives to a hotel to encounter the man who raped her twenty years before. She drives through a white winter landscape and checks into a hotel to face her past. It is an intensive journey – the outter movements reflecting the inner developments – the woman is driven by her trauma and at the same time driving it away.Barbara Pichler
Director's statement
This movie describes possible consequen-ces of a painful event. The birth of a human is the first painful experience in itself. A painful cry stands at the beginning of this nameless film as seismographic note – pain doesn’t have a name either. In retrospect the creative options of writing, pictures and music are introduced as notes of a failed attempt to express this pain. As consequence the protagonist, nameless like to movie, from victim to offender, to face the traumatic moment at the genius loci… A film without author, an objet trouvé, cut within the camera, the actress disappearing at the end of the film, leaving her weapon behind in a train in which the audience will sit forever, the last note in her diary goes directly to us…
„To let the director disappear, that has been since years Ludwig Wüst’s project.“
Maria Motter, 06.03.2015, FM4
„A coherent dramaturgy given the portrait of a fundamental irritation.“
Hans Christian Leitich, March 2015, ORF.at
„Why should we watch, if everything is normal or like in Ludwig Wüst’s film building on a thought by Marguerite Duras: If I hadn’t committed this crime, no-one would take note of me.“
Patrick Holzapfel, 26.03.2015, kino-zeit.de
“As a film director he is constantly working on his disappearance, in order to bring the work of actors completely to the center and attention of his films. This time he based his film on the pure camera work of his main actress Gina Mattiello. Prior conversations between the director, the cinematographer Klemens Koscher and Mattiello herself nailed the expectations that Wüst had but the results, of course, later went all different than expected. And Wüst exactly aimed for that. He is also using a little “catalogue trick“, mentioning there that “a woman in her late thirties leaves home and drives to a hotel to encounter the man who raped her twenty years before…“. Well, the story we see then seems to be somehow different: The change of seasons, the woman’s observation of not only one man, porn scenes on the TV and the lyrical handling of the female narrating voice gives me the impression of treating the delicate subject of a female rapist. So as an audience, how much of your expectations lead you to the cinema and finally influence you in “consuming“ a story you believe to witness on the big screen?”
Claudia Siefen, 25.03.2015, desistfilm weblog
Maria Motter, 06.03.2015, FM4
„A coherent dramaturgy given the portrait of a fundamental irritation.“
Hans Christian Leitich, March 2015, ORF.at
„Why should we watch, if everything is normal or like in Ludwig Wüst’s film building on a thought by Marguerite Duras: If I hadn’t committed this crime, no-one would take note of me.“
Patrick Holzapfel, 26.03.2015, kino-zeit.de
“As a film director he is constantly working on his disappearance, in order to bring the work of actors completely to the center and attention of his films. This time he based his film on the pure camera work of his main actress Gina Mattiello. Prior conversations between the director, the cinematographer Klemens Koscher and Mattiello herself nailed the expectations that Wüst had but the results, of course, later went all different than expected. And Wüst exactly aimed for that. He is also using a little “catalogue trick“, mentioning there that “a woman in her late thirties leaves home and drives to a hotel to encounter the man who raped her twenty years before…“. Well, the story we see then seems to be somehow different: The change of seasons, the woman’s observation of not only one man, porn scenes on the TV and the lyrical handling of the female narrating voice gives me the impression of treating the delicate subject of a female rapist. So as an audience, how much of your expectations lead you to the cinema and finally influence you in “consuming“ a story you believe to witness on the big screen?”
Claudia Siefen, 25.03.2015, desistfilm weblog