Lisbeth, oh Lisbeth

“The idea for the film came about during the Corona lockdown. Like so many of my acting colleagues, I began with small shoots in my apartment to pass the time. Then I thought I might as well write a screenplay and then film it. I have time. The relativity of time and the discussion about 'fake news', i.e. the supposedly false reality of facts, sparked off by the pandemic, occupied me. It led me to the question: How long can people put up with each other in a confined space (e.g. in bunkers) and what happens when mistrust grows? If you haven’t seen the film yet, please stop reading. Now.

Whether or not there was a nuclear attack in the story is two-fold. The very assumption that there might not have been destroys trust. And raises potential for conflict. The flashbacks show the disturbed relationship between Kai and Lisbeth. Mia's dreams show her processing of the bunker reality on the one hand and function as a symbiosis of Lisbeth and Mia on the other. Kai's desire for Mia or Lisbeth becomes blurred. A metamorphosis takes place. Mia adapts to the circumstances and gradually takes over Lisbeth's function.”

Frederik F. Günther