Allegory: Two wanderers of opposite characters play with nature – an unknown woman who carries something of both within her. She becomes the pivot of a strange drama that makes actors reveal their true nature.
There is no winner.
“When I was working on the script for MÄNNIN I explored the Luther bible. In doing so, I came across the story of Job, where the devil made his bet with god.
Then I reflected on the human being whom I see as being torn and manipulable, but all the same responsible for their actions and decisions.
Angra, the woman, and Spenta, the man (Angra and Spenta Mainyu come from Zoroastrian theology and characterize cosmogonic dualism), who are of opposite characters, enter into a betting game in which they choose a person with no identity from the crowd, the nameless X.
This unnamed woman will be the toy of both, and finally, the three become one, which is visualized by their exactly identical clothes. Imagine a human being divided into three parts: the right side, the center part, and the left side. The part
in the middle is the center of the human being responsible for choosing the path they take.
Texts from Nietzsche's impressive work Thus Spoke Zarathustra accompany the acts of the film, narrated by an observer. The observer is a musician, but also a poet, an abstract and vague character whom you never see.”