based on texts by: Irena Štaudohar, Arundhati Roy
actress: Iva Zupančič
man: Branko Završan
director and set designer: Matej Filipčič
screenplay by: Matej Filipčič & Irena Štaudohar
director of photography and cameraman: Simon Pintar
editor: Igor Gajič
composer: Mitja Vrhovnik Smrekar
sound editing: MIG29
make up: Irena Mrhar
light desing: Peter Uhan
telekino: Emil Svetlik
set technician: Blaž Jelnikar
photo: Peter Uhan
The project was supported by the Ministry of Culture of the Republic of Slovenia.
additional music credits
equipment rental and technical support
FILMSKI STUDIO VIBA FILM LJUBLJANA
produced by OSUM, june 2004
award for the best script on 10th Festival of Slovenian Independant Film - Kinodvor, Ljubljana, 2006
INTERIERI is a short film, which juxtaposes the theatre mise-en-scéne to film narration and the principles of fragmented dramaturgy to editing. It is inspired by the performance with the same title about the fictional actress, and in the film genre her story becomes a mixture of fiction and documentary films.
»There are some sensitive moments, when our inner world exhibits itself and becomes visible,« wrote the dramaturge and co-writer of the text Irena Štaudohar at the premiere of the monodrama performance of Iva Zupančič called Interiors.
»Somewhere between the inhalation and exhalation, while we close and open our eyes, our inner monologues, which we carry thoroughly in the back of our heads, change into story.« When the suggestive and cleansed performance of the architect and director Matej Filipčič, which at first originated as one of three parts of the theatre Project 3, reached its premiere in a film version, I found that text: »The memories materialize themselves into objects, which can be felt and determined by their shape. Fragrances and touches, which are supposed to be the most indefinable sensual element of our memory, become beat and rhythm, which count down the time of our presence. The body starts to think and tell everything that it remembered, thoughts change into extremities, which grasp and feel the skin.«
The short movie: theatre-film document Interiors (production of the institution Osum) is connected with the preceding theatre performance through its title and text and of course through all four essential members of the team: the actress Iva Zupančič, the co-writer of the draft and the dramaturge Irena Štaudohar, the cinematographer Simon Pintar and the director and set designer Matej Filipčič. Interiors offer an opportunity for establishing a dialogue between the performance and the film, which lean on the same draft, and at the same time focus the attention on the essential differences among them by raising related questions in both media. »In what shape does the memory appear on the stage and what shape does it take in a film?« is one of the questions the authors of the film were questioning themselves during their work. In the case of Interiors this question doesn't concern only the specificity of the media, it also concerns the time interval between the beginning of the performance and the beginning of the film respectively. In the moment when the performance is raising questions about the memory on the basis of performed interview with the fictive woman interpreted by Iva Zupančič, in the film on the other hand, which is already a peculiar reminiscence of the performance, we become aware of the difference between the performed person and the performing actress, and at the same time beside the aesthetic value recognise the documentary one: bearing witness about the performance.
Film is an ideal media, which can include all that »in-between« without making us encroach on the original script. We are still looking at Iva Zupančič, playing a part of a fictive woman, answering the questions of an invisible questioner and sinking into her fictitious memory. We are still present at the reminiscences, which are reviving and adopting an almost touchable shape. The difference lies not only in the fact, that this time we are walking with Iva in the picture over the roofs of Ljubljana skyscrapers, following her through the fields and woods or going with her up to the castle; that the same words are given through another visual and sound material. The difference is also, that the performance passed from the present into the past and became a subject of the memory the film-document attaches itself to by using many unobtrusive quotations, which indeed can be comprehended only by those, who saw the performance. The woman we are looking at in the film is closer to Iva Zupančič than the woman we were looking at on the stage, for her part became its own memory meanwhile. The fact that the creative theme is aware of this closeness, confirms the choice of film settings, which obviously correspond with life and work of the performing actress.
Everyone who knows Iva Zupančič will, watching the scene at the ruins of the castle in Dolsko or in the picturesque interior of the castle in Brežice, remember the fact, that she spent her childhood in the castle in Trebnje; watching the scene in the wardrobe of the Slovenian national theatre Drama one will become aware of her lasting professional engagement in this theatre; at the scene in the car it will surely slip one’s mind, how passionate she is about the driving trips to the green Lower Carniola region; when she mentions the space (this is otherwise the subject of the text and has already been present in the performance), one will see her floating with her head down and tousled hair in the weightless performance of Dragan Živadinov. But the film does not only correspond with life and work of Iva Zupančič, it also corresponds with the opus of Matej Filipčič and his creative team respectively; there is a string of different quotations coming from the theatre performance Interiors (the text, the actress, the costume, the scene with the tower and the clouds ...) like from author’s other projects, mostly from the performance Osum (the model of mise-en-scene with the puppets of the man and the woman, sitting at the table and playing an interview, the music of Mitja Vrhovnik Smrekar,...
So in this theatre-film document it is not only about the »inversed perspectives«, which Irena Štaudohar is writing about, the special moments, »which we feel in the unusual states of the everyday life, or then, when the mass of our body sinks into the night dream«. If the performance was »just« about researching the moments, when »our interior changes into exterior«, when »the body becomes the room« or »the stage of memories«, the film is also about the fact, that also the existent preceding artistic happening became the subject of remembering. Beside all that the film Interiors represents the primely aesthetic experience, which captures forever the image of Iva on the film track, dressed in the white shirt and girded white skirt wearing low white sport shoes. They set her on the fields and in the woods, on the roofs, among the bell-towers, denudated industrial complexes, painted castle walls. In the play of contrasts and compositions, which construct the visual context of the film, we become aware of the space consciousness of the director, scenographer and architect Matej Filipčič, and through the sublime appearance of Iva Zupančič we recognise the interweaving of the fictitious woman character and the charismatic personality of the actress.
Petra Pogorevc, Sodobnost Magazin