Trouble With Being Born - trouble in the future?
Sandra Wollner's futuristic sci-fi drama THE TROUBLE WITH BEING BORN is raising a few eyebrows regarding not only the material content, but the casting also.......however is the controversy justified? Check out the below and judge for yourselves;
Elli is an android and lives with a man she calls her father. She can recall memories of beach holidays and anything else he programs her to remember. During the day they drift through the summer and at night he takes her to bed. Designed to resemble one of his memories, she seems very much alive - sometimes, she even seems to dream and yet, she remains a machine, a container for those memories that mean everything to him and nothing to her.
These reminiscences seem to have a hold on him - indeed, they have developed a life of their own. One night she sets off into the woods, following a fading echo. She gets lost in the thicket and is found by someone else who takes her in, giving her new memories and a new identit.
The Trouble With Being Born - The story of a machine and the ghosts we all carry within us.
THE INTERVIEW with Co-writer & Director Sandra Wollner*
Q: The title of the film, THE TROUBLE WITH BEING BORN, immediately throws up a certain line of questioning. What kind of squabble with our existence is at the root of this, your second feature film – perhaps of your film-making in general?
SANDRA WOLLNER(SW): Squabble is good. That alleviates the tragedy a little. We live in a world which appears relatively structured and organized in terms of meanings, but at the same time I feel it‘s possible to sense the chaos behind that. In a way, you can sense how fragile this reality is. Maybe I can illustrate that with an example. If I repeat the word “Marille” 500 times, it loses all meaning. There is a brief moment when you lose your bearings, and everything collapses into pre-linguistic chaos. The people in the film are marked by this feeling. The vague suspicion that this world, in essence, is anything but organized, and perhaps only appears to be so in our perception.
Q: Gradually android robots are starting to play a role in human existence, even when a robot like that in THE TROUBLE WITH BEING BORN is still a dream of the future. Was the android robot in itself the central topos that provided you with an impetus to start writing?
SW: The idea of making a film about a childlike android came originally from Roderick Warich, with whom I wrote the screenplay. I was initially working on a different story, where a girl increasingly has the feeling she doesn’t see the world the way it really is. She develops the desire to move away from her own viewpoint, a human viewpoint. The desire to see the world the way it is, without evaluating it, and instead simply just to be. Essentially, like an object. When I look back now on the process that gave rise to THE TROUBLE WITH BEING BORN, I realize that‘s why the idea appealed to me so much: because the robot girl represents the vessel I had been looking for previously.
Q: To what extent were you also interested in debating the isolation of the individual in this film?
SW: I was interested in the virtuality of our own reality, i.e. the structures that organize reality. To what extent are we always merely conversing with the persona of another person? To what extent can we really step out of ourselves and actually see the world as it is? Or is it just the appearance of this world? That‘s the crucial question driving me: how virtual is our own reality? The people in this film very much want a genuine opposite number, but really they‘re just looking into a mirror. Consequently every conversation with this robot remains a monologue at first, which forces them back on their own isolation, their own virtuality. After all, our human experience is characterized by a self, an awareness, which is what actually makes us thinking beings in the first place. It is by means of this self that we separate ourselves, consciously to some extent, from the world. So essentially we are always fighting this isolation.
Q: Even in your first film, The Impossible Picture, loss and decay, disappearance and memory – as well as the desire to hold on – played a crucial role. Do you regard THE TROUBLE WITH BEING BORN as a fictional narrative or more as an essay about loss, memory, desire and longing? Would it be accurate to locate your work in films at this interface?
SW: I have the feeling that the kind of cinema which interests me at the moment is located at this interface between narrative patterns and subjective moments of observation. It seems to me that the majority of contemporary art, apart from film and literature, doesn‘t subjugate itself to these narrative conventions – and perhaps even deliberately rejects them. That is also decisive in my work. I notice in my own artistic environment a powerful desire to unify these phenomena. To make a kind of metaphysical film which, however, also tells a story. The need for narrative and the radical, subjective observation of an issue are of equal value here.
Q: Is the image, or the medium of film itself, more like a means for you to make contact with this pre-linguistic level?
SW: That’s an aspect of the cinema which interests me, yes. The return to pre-consciousness: cinema as dream. A cinema where voids are also possible, along with dark echoes and narrations that dissolve – just like a dream, in fact. In this case, a very curious one.
Q: To what extent are you also concerned with applying a vision of the future to the present?
SW: It was important to me from the very start that the film should not be located in a sci-fi setting, because the issues addressed by the film have essentially been anchored in our everyday present for a long time. I think the term fairytale is quite appropriate for this film. Kubrick’s idea for A.I., for example, essentially refers back to Pinocchio, and the film tells the story of becoming human. Actually, I wanted to do precisely the opposite, but nevertheless the themes and characters in the film are archetypical. The people there remain outer shells, to a certain extent, never becoming completely genuine. It‘s only by means of the androids, which serve as receptacles for their memories and concepts, that they attain clear delineation. And the robot itself is, in the final analysis, more my idea of robot than an illustration of a technical reality.
Q: In the middle of the film a turning point arises which causes us to lose sight of the first two protagonists. Are you also interested here in pursuing the motif of loss on a formal level?
SW: Definitely. I wanted to show a very human android which at first only reveals in isolated moments that it’s actually a machine. So when we are observing this being, we can‘t avoid humanizing it. It‘s only with the loss of the characters and the derailment of the narration that I was able to indicate a non-human perspective. As viewers of the film we have a wish to see the narrative ended; we want to know what happens next. But since it‘s only the way this robot girl has been programmed, what happens next is completely irrelevant. She doesn't attach any meaning whatsoever to the content or to her own fate. One program is deleted, and something else continues instead. I found that fascinating in formal terms.