Identity Kills

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Movie
Original title Identity Kills
Country of production Germany
original language German
Publishing year 2004
length 81 minutes
Rod
Director Soeren Voigt
script Soeren Voigt
production Gergana Voigt ,
Sören Voigt
music Jonny Blender ,
Hannes Bieger ,
Rainer Kirchmann ,
Markus Trockel
camera Markus Stein
cut Gergana Voigt
occupation

Identity Kills is a German feature film by the director Sören Voigt . The first performance took place during the Berlinale 2003 in the Forum section. The psychodrama started on March 11, 2004 in the cinema.

action

After spending several days in the psychiatry, Karen returns to her home, an anonymous high-rise apartment on Leipziger Strasse. She didn't tell her friend Ben about her problems, so he thinks she's been with someone else for the past few days. In the meantime he has billeted his ex-girlfriend Sara in the shared apartment. The peak is reached when Ben organizes Sara's birthday party in Karen's apartment. In view of the drunken roaring guests, Karen puts flowers and presents in a garbage bag and demands that the people leave. Ben yells at Karen in front of the guests and just pushes her into the kitchen. Karen decides to take control of her life. She begins to work in a cutlery factory, where she befriends her colleague Susanne. Karen takes trips into real life, to the hairdresser, to the café. One day, the hotel manager Sanchez mistook her for an applicant for a job in a hotel in the Caribbean. Determined, he surprised Karen with an interview. Karen suddenly becomes lively. She plays along without clearing up the mix-up - until Sanchez continues the conversation in Spanish. Karen liked the misunderstanding so far, but now she stutters. She gives himself away and Sanchez scolds her before he leaves and throws the newspaper on the table with the job application, which he thought Karens was. At the same moment, Fanny Volant, the actual applicant, appears and looks around. Karen has an idea. As "Mr. Sanchez's employee", she calls Fanny and arranges to meet her at a later date. Karen almost completely forgets this experience, as Ben surprisingly tries to look after her again. He is tender and empathetic. He seems to be trying to really start over. Karen gives in - and she is happy. The two get married. They buy a sports car together and Karen pays for it alone. Having finally arrived in "normal life", Karen tries to do everything right, but quickly everything is back to normal. Ben leaves her alone for days, then comes home aggressive and drunk. Then he regrets everything again. This time she wants to throw him out of the apartment, but becomes soft again. Karen tries to escape. She needs her own money and sells stolen cutlery cases. She hides the money she has accumulated in this way in the apartment. But soon Ben found it and squandered it. Karen runs away and finds accommodation with her colleague. She steals a new outfit, slips back into the role of “Sanchez's employee” and makes contact with Fanny Volant. By offering her the dream job in the Caribbean, Karen sneaks into their trust. Fanny innocently invites the "representative of Mr. Sanchez" to her home before she starts her big journey ...

Location

Identity Kills was shot in Berlin in summer 2001 and autumn 2002.

Statement from the director

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"Identity kills" was written three times, once as a sketch, then while shooting and then in the cut. When I saw Brigitte Hobmeier in Peter Stein's production of Faust, the idea for the film finally became concrete.

It was partly shot in situations in which neither the actors nor the team knew what they would look like. This is not a gimmick, but has aesthetic reasons. The actors so often had no opportunity to try the scenes. What usually happens during rehearsals, namely developing a scene from a starting point and bringing it to an end point that leads back into the next scene, is thus undermined. The actors do not have to refer to the dialogues and interpret them somehow, so they do not have to try to adapt their characters to the written template. Instead, they have to invent their own characters. This also includes the dialogue, which an author could not create in this way. That goes down to the micro level of what is being spoken, in overlaps, half sentences, broken speech. If something like this is played as a written dialogue, the art of the actor usually immediately comes to the fore. In the way that the audience admires the performance and how "realistic" the actor designs the role. In our work, this effect is not pushed between the actor and the audience. Instead of the formed narrative that is interpreted by actors, one follows the self-creation of the actors.

This is very difficult for the actors for various reasons. You are always walking on thin ice and you are even more personally at the mercy than you already are. There is no dialogue or preconceived action as a lifebuoy. Not only is it difficult for the actors to bear the uncertainty, but it is probably a necessary process in order to arrive at this kind of narrative.

The nice thing about film and cinema is that it allows an unlimited number of narratives and narrative styles. This diversity is seldom exhausted. If you are of the opinion that conditions of life that you could observe every day in your own neighborhood, if you only looked, should also be told in the film, and if you don't want to leave that to court broadcasts at lunchtime, you can try this improvised way To approach the living environment.

“Identity Kills” is still a feature film, even if it plays with the documentary form as it also plays with other narrative styles. This is also a result of the way in which the way the story is told changes fluidly. This results directly from the game of the actors and the situations. If you want to practice such a procedure, then it is difficult if not impossible to get script funding or television money, simply because there is no script in the way that television companies and funding agencies expect. Namely in such a way that one can insist on seeing what is in the script afterwards in the film. The project therefore had to be self-financed.

For me, the documentary aspect of the film lies in the starting point, which is based on a true incident and real characters.

Awards

  • International Contemporary Film Festival Mexico City 2004: Best Actress Brigitte Hobmeier
  • International Film Festival Anonimul, Romania: Best Actress Brigitte Hobmeier
  • Viennale 2003: nominated for the FIPRESCI Prize of the International Film Critics

Festival participation (selection)

  • 53rd Berlin International Film Festival 2003. Forum of Young Films;
  • 25th Moscow International Film Festival 2003, CIS;
  • 38th Karlovy Vary International Film Festival 2003 Another View;
  • 9th Sarajevo Film Festival 2003-New Currents;
  • 28th Toronto International Film Festival 2003-Contemporary World Cinema;
  • Calgary International Film Festival 2003;
  • b-film + digital vision festival Berlin 2003;
  • 19th Warsaw International Film Festival 2003;
  • Days of German Cinema, Krakow 2003;
  • Viennale 2003;
  • 15th Film Forum Schleswig-Holstein;
  • Nordic Film Days 2003;
  • 11th Raindance Festival London 2003;
  • 14. Ljubljana International Film Festival Perspectives;
  • 13th Oslo International Film Festival;
  • 43rd Thessaloniki / Cyprus International Film Festival 2003-New Horizons;
  • 52nd International Film Festival Mannheim-Heidelberg, –new German films;
  • Xth Festival de Cinema Independent Barcelona. l'Alternativa 2003;
  • International Contemporary Film Festival Mexico City 2004;
  • International Film Festival Sofia 2004;
  • Anonimul International Film Festival 2005.

Web links

Individual evidence