– What were the biggest challenges in following these often emotionally precarious protagonists Barbora and Karl-Bertil over so many years?
– The biggest challenge was to watch people suffering emotionally and to film that. I think that’s a huge dilemma for a documentary filmmaker. Should you give the person a hug, or should you continue filming? Most of the time I continued filming, before I gave a hug towards the end. The reason I did this was that we had a common understanding that it was important for us – Bertil, Barbora and me – to document the uncensored, rough reality they were facing.
– The film is not only strikingly cinematic but unusually structured. How did you decide on the overall aesthetic?
– I thought a lot about wanting to show Bertil as the complex and intelligent guy that he is. I couldn’t achieve that without seeing the world from his point of view.
– I got the inspiration from a particular therapeutic, practical exercise – where you are challenged to see the world from your own and another person’s perspective. You change this many time during the exercise. This therapy (perceptual perception) has made a huge impression on me. I tried to apply that to the film. The same with the voiceover – they were very inspired by how people talk in psychoanalysis, with the stream of consciousness. I tried to «interview» them in this way and hope they would feel free to speak in an open and introspective way.
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