Live, a film that is disturbing news

Live, un film troublant d’actualité

Live, un film troublant d’actualité

With <em>Live</em>, director Lisa Charlotte Friederich, 37 years old, has imagined a near future where an authoritarian government prohibits all gatherings of people to minimize the risk of attacks.


May 7, 2020 21h06


Live, a film that is disturbing news

Tom Barfield

Agence France-Presse

FRANKFURT — The empty streets under the skyscrapers of Frankfurt and the inhabitants confined in quest of human contact: the winner 2020 of the festival of German film Lichter is particularly topical, even without speaking of the current coronavirus.

To the side of the winner, the feature-length regional Live, 14 other films were able to be viewed the last week of April by the public, in line with a limited number of tickets for the films in competition. One solution recommended by the organizers, in order not to cancel purely to the event.

But in the context of the pandemic, it is difficult to compete with a film whose theme resonates amazingly with our daily lives.

Live is not a documentary, appropriately, realized at the last minute, but a pamphlet describing a future oppressive, which is matured for years in the mind of the director and screenwriter Lisa Charlotte Friederich.

With the arrival of the new coronavirus, “we realized that we had made a film very similar to the situation that we all live now,” laughs Ms. Friederich to the AFP.

The film is in reality inspired by the wave of terrorist attacks that hit Europe in 2015 and 2016, from Paris to Brussels, via Bavaria.

Inspired from real facts

The director, 37-year-old then, imagine a near future where an authoritarian government prohibits all gatherings of people to minimize the risk of attacks.

“For those of us who live in relative safety, there is a rapprochement” between the dangers of terrorism and the virus, she said.

The two “show us how our world is fragile, interconnected… we need to think about how we have lived before and that we will live in the future,” philosopher and filmmaker.

The story follows the journey of a woman and her brother who defied the authorities by organizing concerts illegal.

“Of course, the film does not encourage people to come together in a stupid way and rebel against what is only reasonable,” explains the director. On the contrary: “the film speaks of the need for communion between people.”

One of the first scenes directly inspired by the bombing in the subway in Brussels in march 2016: here the first-aid fall on the participants of a concert stowaway found dead after an explosion.

“Suddenly, the phones of everyone in the world started ringing as the news spread,” says dr. Friederich.

Alienation digital

Throughout the narrative, the characters are oppressed by the digital technologies, which have become more instruments of deportation and reconciliation social.

“I did hit that person for an eternity, I don’t even remember the smell of human beings”, says a character in the film, crying during an interrogation.

“People tend to forget these things very, very quickly: do not have a warm body close to home, never, it’s terrible,” Mrs. Friederich, who considers herself lucky to live with his partner and coproductrice Rike Huy.

The team was able to capture rare images of the main streets of Frankfurt, completely deserted, and in taking advantage of the evacuation of a district of 60,000 people during the defusing of a bomb of the Second world War in 2017.

“We can never do it without a car, even at night. The bomb has made possible what we are living now” because of the confinement, she laughs.

Lisa Charlotte Friederich, also an actress in several films and series, savor this output is timely and considers herself lucky then that the sector of the culture, including the film industry, is hard hit by the constraints of health current.

With the buzz around her film, she hopes to be able to more easily find a distributor, who would Live to experience a second life when the cinema will re-open.

Le Soleil

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