a brutalidade da acção, o lado episódico da narrativa, tudo contribui para um novo olhar sobre o nazismo e um avanço das formas fílmicas, a partir da tradição". Como?!
Leonard Kraditor is a grown man in his 30s living at home with his parents; Michelle Rausch is another adult wrapped up in an emotionally immature relationship with a married man. Both of these characters seem to be living in a state of arrested development. Can you comment on this?
I think that one the essential struggles that we face in life is reconciling our hopes and dreams that seem so very clear and reachable, with the countless difficulties and injuries to our psyche that keep them from becoming reality. I think it’s very common that people live in states of arrested development, because one of the rarest qualities in the world is emotional intelligence.
The state of being in love is preposterous—we never leave adolescence when we are in love. We say and do such absurd and immature things, so to me, this state of arrested development was important to establish in order to justify the absurdity of being in love. These characters needed to be the ages they are—if they were 20 years old, then the essence of the story would be homogenized pap, because you wouldn’t get a sense that their struggle was one of life and death. Once you get to be a certain age, these puerile conflicts become much more important because essentially it means that your neuroses are becoming encrusted and quite severe. So the importance of these relationships and emotions is increased markedly, and so is the intensity of the drama.
(from A conversation with director James Gray)