Director's Statement

My characters are shadows. You never get to know everything, in the same way as you never get to know everything about anybody. Katrin is possessed by a deaf violence of memories she never quite becomes fully aware of.
All the characters are “deterritorialised”. A sense of dislocation and permanent unease are the collective feelings.
I want to register these peripheral bodies at the surface and above all I want their skin.
Formally, I do exactly the same: events are suspended, rather than materialised. I am interested in what is not seen.
I want to avoid psychology. I want to speak about absence. The challenge is how to maintain characters without a psychology, since in the fictional sense they live on exactly this; it is about playing at the limit.
I wish to reduce representation to an epidermic level and work the surface as an atlas of the character’s inner convulsive maps. In one word: To achieve silence.
An idea gained shape amongst my previous work with some of these teenagers: that nothing will come to a close end, all is fragmented, and my (our) task is to continually reconstruct and so to lose again.
Psychological death is staged here as a possible portrait of my world and my own generation.
These feelings invade and infect the film: something associated with the sensation that fullness, love is not achievable.

An action started, suspended, forgotten … like a mute, irreversible catastrophe, which slowly develops. Like a disease, which journeys on and is this pathological journey that becomes the film’s only object.
To film this journey implies time for observation, suspended time.

“It´s not over.”

Hugo Vieira da Silva