“Son Saul” director Laszlo Nemes on “orphan” inspired his father

Oscar-Winning “Son Saul“I” Sunset “director Laszlo Nemes takes the personal story in Venetian competition. In”Orphan“It is reminiscent of the story of his father who had to deal with his family secret as a 12 year old boy.

“He discovered that his father wasn’t his father. And the man who came knocking on their door was, well, not what he expected,” she remembers Nemes. “My father grew up with this personal trauma and on top of that, World War I have entered such a dramatic way in his dramatic path. He later haunted him.”

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Finally, he found universal topics in the story – “It is almost archetypal” – comparing it with the dilemmas of oedipus or hamlets. But Nemes wasn’t just interested in intergenerational trauma when telling the story of head on her head, Andorr, placed in 1957, just a few months after a failed Hungarian institution.

“This child was born in the last days of the Second World War – his life mirrors all systemic dietations 20. century in Europe. I think we are still in the same historical cycle. Its many effects continue to take place or will take place or detect.”

“I feel deep about connecting an individual to his or her moment. Cinema tends to suggest that an individual can be much more – I think is a deep tragedy in the heart of an individual who is subject to historical forces,” he says.

Nemes built a career from seeking a cinematic language that suggests that “what was not in the past”.

“With ‘Sunset,’ The Parallels to the First World War and How Europe Brough Reverberating When The Film Came Out (in 2018). You could feel this upheaval of our societies. In ‘Orphan,’ and Want to Bring the Viewers into the Very Heart of the Communist Repression, As seen by A Kid. When I Grew Up In The 1980s, I could still feel it on my skin. “

There is a long tradition of watching the war through the child’s eyes, from “Come and see” Empire Sun “,” Spielberg drama that Nemes “dear loved”. It has led it to create a universe that is “and hard and soft.”

“Softon can’t separate from his sharp. Some would call it magical realism,” I called him magical socialism, “” smiles.

“I’m always looking for hope – even in” Son Saul. “Even in the darkest places, you can find you that you will stay sweet and sour, and this is a difficult child. As a viewer, you may find out the truth. You may know more than it can know more than it can know more than it can know more than.”

Nemes is not very ready to still make a modern film, he says.

“It could sound funny, but my biggest concern would be technology. I would attack our lives. I would have to find a real point and that I would feel very easy with things that take place in the past.”

In the meantime it develops “Moulin,” About the hero of French resistance Jean Moulin, in September in September who play Gilles Lellouche and recording. Nemes spent a large part of his childhood in France.

“It is held in 1943. years, so let’s go again. But it’s not a movie of the Holocaust. I’ll show how the Germans caught him and how it caught the Germans and how it took care.” He also tried to film the film in English “already a little while.”

“For some reason it turned out very difficult. It is probably because I am very reluctant to control my material, or maybe simply not at the right level, but I could definitely make it.”

While the political situation in Hungary remains unstable, Nemes are looking for a “larger image behind daily concerns”.

“I wonder:” What does that mean at the civilizational level? “I’m always more interested in more tendencies, greater trends and larger evolute from everyday policy, as well as the creation of relationships. The cinema can do so good,” he says.

“When so many people went to see the” son of Saul “, instead of completely embraced the past. Ali the movement, but the cinema, but you can believe that you can believe in this way. In this way you can trust Tiko. This way you can trust you and Tiko. Traveling for both them. ”