There are many things we could say about the direction of this film, for example that the first phase of editing was completely analogue with paper and scissors or that we had to create new material from existing material... I'll explain it to you.

 

When we say that the film "echoes the way its protagonists conceive their music", we actually mean something very specific. Coco, one of the protagonists, says at one point that mistakes can be seen as potential, that she sublimates them to a certain extent, and well, we applied this "rule" to the letter. Since the shoot was never about making a documentary, nothing was filmed with that goal in mind, and we had to find solutions to these initial shortcomings.

 

For example, each interview was shot with a single camera (which is also due to a lack of resources), but as this footage is our main source in this film, the film would have become rhythmically monotonous or even boring. Therefore, to remedy this lack of images, we created different perspectives by simulating a second and a third camera from the existing footage.

Here's the trick: we filmed the screen of the Lichtblick cinema (the cinema where we held the concerts), on which a pre-montage of the interviews was projected. All the close-ups of the interviews are from this process and you can clearly see the structure of the screen. There are no effects that were applied in post-production. It is just the result of newly filmed material and the initial "mistake" becomes a strength in the end. So there is a discussion between the subject and the realisation, between content and form.

 

There is more to tell, but I hope that these first "behind the scene" details already bring some spices to the taste of this film.