Austrian filmmaker Daniel Hoesl has sharpened his teeth on Ulrich Seidl’s “Paradise” trilogy (the final installment of which premieres at this year’s Berlinale) as an Assistant Director. The Vienna native now arrives at Park City with “Soldate Jeannette,” his feature directorial debut. The film is subtitled “A European Film Conspiracy,” while the Sundance film guide lists it as a “punk parable.” Which description is more appropriate? Hoesl describes the filmmaking experience in his own words.
What It’s About: “Fanni has had enough of money. Anna has had enough of pigs. Cars crash and money burns to shape their mutal tune towards a rising liberty.”
Now What It’s REALLY About: “It’s about two women who rise up against all odds of everyday life. One is doomed by the religion of money, the other’s stuck in a cage like human cattle. Congenially chutzpah unites them and they start tricking the mechanics of the hamster wheel. They face what seems forgotten: Don’t do what you don’t want to do!”
Biggest Challenge?: “We didn’t have a screenplay. Casting biographies of actors and non-actors I spoke to was the starting point. By varying their biographies we created the narrative. Everything came with the actors. It was just natural to walk down that road and just keep picking the grapes on the way into the narrative. We picked up locations, music and what had to be told, what the struggle was in their stylized meta-biographies, and in that sense what it was to be expressed. That liberty is a challenging alternative to conventional filmmaking. In a way its inverted directing, and of course it’s like cooking without a recipe.”
What I Shot On: “Panasonic AF101, rental.”
What I Want Audiences To Remember: “Watch the movie, you’ll find out that there are alternatives to the regime you’re stuck in. Think about your community. Our community is the planet. Revaluate your values. Get it going. Rise up. Grow a tree on a road.”
Films Used for Inspiration: “Sure the soft rebellion in Alain Tanner’s ‘Messidor,’ Kafkaesque chutzpah in Elio Petri’s ‘Investigation of a Citizen above Suspicion,’ Sofia Coppola’s deterriorialized humor in ‘Lost in Translation.’ Oh, and of course Godard’s ‘Vivre Sa Vie.'”
In the Works: “Jet-set, high-society and the dubious value of money and debt always makes up a jolly story!”
Indiewire invited Sundance Film Festival directors to tell us about their films, including what inspired them, the challenges they faced and what they’re doing next. We’ll be publishing their responses leading up to the 2013 festival.
Keep checking HERE every day up to the launch of the festival on January 17 for the latest profiles.