Adele and Timo escape through the woods.
This was the winning film in the European Features competition at BIFF. I saw it in two parts, having to see the opening after I’d seen the rest of the film. I don’t think that this spoiled my enjoyment. The plot is relatively straightforward. Adele is a teenager living on a farm in a remote and wooded area in Germany. Her withdrawn demeanour is briefly sketched in and she barely communicates with her parents. She is surprised by an escaped prisoner who has got into the farmhouse but instead of betraying him she decides, after learning that he has killed someone, to help him. They run away together and she then tells him that she will help him over the border into France – but in return he must push her off a cliff. This unlikely scenario then sets up a fugitive chase/road movie. Two characters must learn to work together and to learn about themselves in the process. The narrative has a form of ‘open’ ending and I won’t spoil any more of the plot.
In the interview below, the director Emily Atef explains that it took her several years to develop the script and organise the production – in fact she made two other features during this period. At one point she was selected for a Cannes ‘Residence Award’ which enabled her to move the development forward substantially. Atef has clearly been on industry radar for some time. Born in Berlin to Franco-Iranian characters she has also lived in the US and in London but now she is based in back in Germany. After watching this film I realised that I have a DVD of her 2005 feature Molly (about a young Irishwoman who travels to Poland). I must watch it again and post on it.
Kill Me is a success for various reasons, not least the performances by the two leads. Roeland Wiesnekker (Timo) is an experienced Swiss actor who suggests a character turned in on himself. He’s tall and dark and bear-like compared to the blonde Maria Vargus as Adele, known in the UK for her role as Klara in The White Ribbon. There is excellent use of landscape and Emily Latef tells us that she received regional funds from Région Provence-Alpes-Côte d’Azur and Filmstiftung Nordrhein-Westfalen. Probably most important though is the way that the script ideas are handled. It’s a classic case of not ‘doing a Hollywood’, so at the beginning of the film we don’t get any real explanation of why Adele is so withdrawn and certainly not why she would want to fall from a clifftop. Instead we have to piece her story together from looks and scant plot information. She will later tell Timo something but there is still plenty concealed, especially about his back story, so we travel with the pair never quite sure what will happen. I will reveal that the pair will reach Marseilles which is a ‘liminal’ region, not quite France, but not yet Africa and an iconic ‘end’ to Europe. In the Q&A below somebody asks the director if she ever considered a melodramatic ending. I think we know that she didn’t, though I must say that the location she chooses has been used in the ending of at least one great French melodrama of the 1930s.
The film has been released in France and the international sales agent is the well-known distributer-producer Les films du Losange (long associated with its co-founder Eric Rohmer). I hope they are able to find distributors in other European countries. It is a worthy winner of Bradford’s competition.
Here is the Interview/Q&A when the film was at the Raindance Festival in London in 2012:
Maria Dragus, star of ‘Kill Me’ speaking after receiving the European Features award on behalf of Emily Latef – watched by Tom Vincent and Neil Young, Festival Directors.
Last year’s inaugural European Features Competition featured six films by debutant directors. This year there were another three first-timers plus three established filmmakers. Again the six films have not achieved UK distribution and Festival Director Tom Vincent told us at the award ceremony that this was the chief aim of the prize – to highlight films that UK distributors had missed and should perhaps reconsider. The festival brochure doesn’t tell us what the judging criteria are – which strikes me as problematic. There were three jurors: Stephanie Bunbury is a film journalist from Australia, Hannah McGill is well-known in the UK as one-time director of the Edinburg International Film Festival and is now a critic and film journalist and Martijn Maria Smits is a writer-director from the Netherlands.
As far as I’m aware, the three judges saw all six films at the beginning of the festival and none of them were present at the announcement on Sunday evening. It seems to me that operating in this way, the judges will not have had any sense of how audiences reacted to the films. I wonder therefore if they will have judged the films on the basis of their appeal as ‘festival films’. By this I mean a film that appeals directly to festival professionals and audiences who seek out festivals rather than to a mainstream or arthouse audience. People generally watch films differently in festivals I think.
I thought before the official announcement that the judges may well choose Kill Me directed by Emily Atef. This was the only one of the six entries that I hadn’t blogged on – for the simple reason that I had missed the opening 15-20 minutes and I didn’t want to comment without seeing the whole film. Emily Atef has won several festival prizes for her work and I thought her film would appeal most to the judges. My guess proved correct and though the director wasn’t present, the young star of the film Maria Dragus had flown into Bradford specially. She was clearly delighted that the film won the prize. I had planned to watch the opening of the film so I stayed on for the screening – knowing I would have to leave after about 30 minutes for a meeting. Unfortunately, I was sat directly in front of Ms Dragus so I hope she wasn’t offended when I sneaked out. Now I’ve seen the whole film I will write it up, but if you are wondering, it offers the unlikely pairing of a teenage girl on a farm in Germany who runs off with an escaped prisoner. The odd couple has an uneasy relationship which is explored in a form of ‘road movie’.
Apart from Kill Me, there was a ‘special mention’ of A Night Too Young and its director Olmo Omerzu was present. The young boy’s face in that film with its young/old appearance will stay with me for some time and I certainly support the judges in singling out a film and a filmmaker that both deserve more attention. All six films in the competition were worth consideration for wider distribution and it was a strong field. The award this year was sponsored by ‘Bradford First UNESCO City of Film’ and its director David Wilson presented it to Maria Dragus. I think the ideas behind the award are very good and it is something that BIFF could build on, but to actually convince a distributor to take up any of these films in the UK is going to require more – perhaps several festivals could combine to give European films more focus. The New British Cinema Quarterly scheme sees a package of British films getting a limited release. How about a New European Cinema Quarterly? Britain is the toughest market in Europe for ‘European’ films so anything might help. But for now, let’s celebrate the European Features Award. Kill Me review to follow.