Chiralia by Santiago Gil was really a stroke of good luck. For a long time I looked for a film to accompany Die Wiedergänger. Chiralia does not just correspond thematically with Die Wiedergänger, but also through a special cinematic language with its unique, independent approach to form. A father goes swimming with his son in a lake in the forest. Suddenly the boy sinks underwater and doesn't return. The man leaves the water by himself and reports the disappearance of the child. The camera carries the story from person to person, from one narrative perspective to the next, until in the end no one is really sure whether the boy has disappeared at all.
Alongside Die Wiedergänger another film blurs the boundaries between feature and documentary: Zwei Mütter (Two Mothers). Which means are employed here?
While Die Wiedergänger doesn't rely on the documentary form, but searches for the point where fiction begins, in the case of Zwei Mütter by Anne Zohra Berrached exactly the opposite is true. The fictional story is told through documentary methods – almost as a protocol and based on well-researched facts and statistics. The film is about lesbian spouses who would like to have a child and are looking for a sperm donor. It soon becomes clear that it's not that easy for same-sex partners to get support from a “normal” sperm bank. The film tries to answer the question of why it is so difficult and how the women's relationship is limited and unsettled by the experience.
The Beauty of Impermanence and Personal Access
How would you categorise the documentaries Metamorphosen (Metamorphoses) and Einzelkämpfer (I Will not Lose)?
Sebastian Mez' film Metamorphosen is about the area surrounding the Majak nuclear reactor in the southern Urals, site of the world's third worst nuclear accident in 1957. Much was reported about Chernobyl and Fukushima, but who's ever heard of the Majak nuclear power plant? The film is shot in beautiful black and white images, which contrast the radioactively contaminated countryside. In a positive sense, Sebastian Mez makes us aware of the beauty of impermanence and at the same helps us to remember a forgotten region and history.