The room in the mirror

The room in the mirror
               Genre: Fantasy, Melodrama
  How does it feel when you have spent months hiding in a room? The one really knows until one has experienced it. Or you can go to the cinema: director Rudi horse, the experiment has dared to explore the fears, fantasies and imprisoned on a perceptual disturbances. The result is to understand a radically subjective, in his impressive film imagery.

To the special concerns of the young filmmaker, one has to compare his work with other films on the same subject. Most is in fact the self-hiding-Must described from the outside, so to speak, from the air. Example, in Ulla Wagner’s Die Entdeckung der Currywurst. Here we see the deserter, as he passes the time, we see his suffering, his longings, his changing moods. But we see with our eyes on him and his world. In The Room in the mirror we see the environment only through the eyes of the protagonist. We knew no different outside view more, from which our view of things from the color of the eyes are shut to. The room is a priori a subjective reality. We see it only as it experiences the film character.

The mean Luisa (Kirstin Fischer) and a Jewish doctor in Nazi times. To hide her from the Gestapo, her husband Charles had placed her in an empty, somewhat run-down attic. At first Charles is coming fairly regularly to keep them with food, books and sometimes even provide a little luxury. Suddenly Charles visits remain off. It passes an agonizing time to take in Luisa’s rampant fear threatens her losing control over their emotions more and more.

Then appeared at some point the sophisticated, glamorous Judith (Eva Wittenzellner) on. And open later than that date, remains whether Luisa what is happening now, or actually experienced only in the imagination. Actually, this question is irrelevant. We see on the screen only what Luisa perceived subjectively in their oscillation between escapism and reality drive.

Director Rudi Gaul leads us gently up to this blurring, as it were rooted in real experiences comprehensible. Is not it really the case that we are not a knock on the door can assign one hundred percent, if we have to knock this fear of death? And can not distract us a novel actually a terrible reality, so we sometimes dive into another world? Luisa certainly experienced with the arrival of Judith increasingly beautiful things – sensual confusing, erotically attractive and permissive enriching experiences.

That gives Rudy horse on the image plane to indulge his admiration for David Lynch, just as he had previously cited elements of expressionistic silent movies and the fantastic film. From this he forms his own handwriting, and a visual language beyond narrative or logical structures. The demands of the viewer is a self-engagement with the peculiarities of the dream, the power of the subconscious with his jumps, contradictions and inconsistencies. But those who from the outset in this different “logic” cease and brings plenty of leisure, will be carried away by the power of images. Celebrating and it may be in a special way that Rudi Gaul, his team and his producers brought this visual debauchery with only 50,000 euros to the canvas. The different field (vintage 1982) and his friends have all funded with private money and sponsors. Also managed from this point: experiment.

(Peter Gutting)

Title: The room in the Mirror Country of production: Germany Year of production: 2009 Length: min 106 () Distribution : MFA + Film Distribution

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