Seite - 87 - in JRFM - Journal Religion Film Media, Band 03/02

Review: On Body and Soul | 87www.jrfm.eu 2017, 3/2, 85–89 a person has to prepare for a big journey and say goodbye to this world and to that person’s beloved. In your film you are very interested in the aspect of the soul. What do you intend by doing so? In this film, wherever we show bodies, human and animal bodies alike, this is mostly about their soul. this young woman Mária is trying to open up her soul. she is really exercising. she is making steps to discover the sensual world around her: the richness and the beauty of nature, for example, or the power of the sunshine and the touch of the grass. the woman evolves through sensitive impressions. in this very indirect way i wanted to show that body and soul are a whole. What we are is the interaction of these two aspects. You work with a lot of sensual details in your film-making. Your approach includes a lot of “finesse”. What is your intention when you set up a camera and look at persons or at different details of life? I am an only child and my greatest enjoyment during this period of my life was reading and observing. It can be a passionate thing to sit in a park and watch people. I find it very touching to see people forget themselves in any kind of action. somehow i see in honest work, in how to cook or handle wood as a carpenter, for example, an economy of gesture. in this beauty i see the transcendent aspect of human life. to me it is very much alive in the way you touch an object. Every gesture is somehow a communica- tion with the world around you. How does this relate to film-making? If you want to see humanity at its most wonderful state, go onto a film set. I’m again and again deeply touched that hardworking people who have families at home to feed come at four o’clock in the morning and work 14 hours a day for something that is not necessary. Film is something fully imaginary. But the film-making team is able to believe in it so strongly. It is wonderful to see that not only the film crew but also the guards and the drivers of our film production knew exactly what we were planning to do. I wrote a synopsis and wanted everybody to know what this film was all about. this resulted in an extraordinary sense of detail. the whole crew was very exact. they knew exactly what was right or wrong. We were all of us very keen to accomplish film-making in detail. While listening to you, this seems to me like a kind of “spirituality of film-making”. You are referring to reality through your camera work and your directing with an attitude of spiritual impact. What do you think about this idea? I actually agree. The wonderful thing is that you can accomplish this level of film-ma- king. in a poem you can not add anything or take anything away. you really have to be very exact. to write a poem with 60 people is an amazing experience. i had ext-