“For me it is something special, not to be alone. I’m interested in what people do in order not to be alone, what burdens they carry.”
I Was at Home, But . . . | Ich war zuhause, aber (2019)
“First of all, it’s very very simple for me: having the chance to put the camera in a space and having a body in front. If I do that, certain questions come up. Filmmaking for me is about thinking about those questions: distance to the body, the space the body is in, movement and what movement means. This is very very basic and essential, but it’s a starting point. There is no theory behind it. It’s more that I start to do something and then, when it’s done, maybe if I reflect I find out something which can be formulated. But this is not the working process.”
“Through this alternately mundane and enigmatic teaser, The Dreamed Path establishes its peculiar methods, which involve intermingling ambient distractions and narrative details so thoroughly that it’s hard to tell what to pass over and what to file away as possibly significant—a pursuit further complicated by the even-handed camerawork and editing, which treat each moment to its own lengthy examination. The twist is that, in Schanelec’s hands, everything is both important and inconsequential at the same time.”
‘One of Schanelec’s supreme accomplishments, Marseille "demands that we stop, that we let ourselves be swayed by its slow rhythm, and surprised by the audacity of its narration"’
