“Landrauschen”, another representation of the German countryside

women in mask in streets

Lisa Miller is a young German woman who studied in Madrid and London. He is a visual artist and rural noiseIt is his first foray into film. He speaks Spanish very well and has a very friendly attitude. He was born in a Bavarian town, that rich region of Germany famous for its ostentatious city Munich and the Oktoberfest. She has come to Mexico to present her film released in her country a few months ago, first she visited Mexico City as part of the activities of the 17th German Film Week, and later she traveled to Nuevo León to participate as a guest in the International Festival of Cine de Monterrey, and in the III Northeast Meeting of Women in Cinema. At the Cineteca café in Parque Fundidora we meet, she wears a blue dress that contrasts with her white skin and dark hair, and highlights her clear and expressive eyes.

Why did you decide to make a fiction movie?

I really like working with concepts, and I think that as a director in this film I have worked with concepts, but what I liked most about making Rural Noise is telling stories. I also decided to do this for the audience that you can achieve with cinema, because working in the art world is like working in a bubble and in the end you always have the same audience that is part of an elite. I wanted to create something open for any type of people. And that’s why I also decided on a genre as popular as heimatfilm, my film is set in the rural world in Bavaria, people are going to see a lot of this type of cinema although my goal was to do something else of this genre.

The genre called heimatfilm is a romantic and fun view of the field. Your movie is fun but also critical

I chose a town of 600 inhabitants, I made a trip from urban to rural. I didn’t actually go out to the field, I’m from the field, I went back to it. And I decided to tell this. The Heimatfilm emerged in Germany after World War II. Germany was destroyed and people wanted to see the mountains and green landscapes with stories to the heart. Over the years there were different currents in the heimatfilm, for example in the sixties the films streaming were super socially critical. In recent years it has been modernized but the genre has been a bit stagnant in comedy. On the other hand, I decided to tell Rural Noise because there are few stories set in the countryside, and the ones that are many times are romanticized, exotic and very kitsch, because they show you an intact world. Theheimatfilm are like ranch movies here. And another representation of the countryside and rural people is needed.

The countryside in Germany is forgotten

It is true, but there are small differences. The German countryside is different depending on the area. For example, in Bavaria there are many people in the countryside, people go to study in the cities but return. However, there is poverty and many drugs, nobody talks about it because the idea that people have of Bavaria is as if it were paradise. The right-wing parties have won the most votes is in the East German territories, precisely because in my opinion, the people there were abandoned after reunification, without major developments or work. But that’s not necessarily what makes people vote for the right. In Bavaria, in the towns near the cities, they have voted for the right but there it is for fear of losing their privileges. It is true that the people of the towns are usually more conservative and closed than in the cities.

Are these people not represented in art or cinema?

It is represented but, for example, I have filmed my film in Bavarian dialect, usually on television and in the cinema in Germany when someone uses the dialect is in a context of humor or mockery. He is a vulgar or in bad taste, with little education, who has to be funny. So you can only be funny if you speak a dialect.

Is the use of dialect in your film a political act?


In your film there are subtle circumstances and anecdotes in the characters that reflect current debates in German society, such as migration.

It is that I have lived it. A few years ago I was walking in the forest and I met five Somalis, before in that area there were no black people and suddenly the whole image changed. This has triggered many ideas in families with connotations of fear and resentment. That makes me very angry about my society. But at the same time, I tried to understand those fears to remove them, to understand the history of the country in which I live and the politics of those politicians whom I have not voted but who represent me, they have changed the way of speaking and the language has changed. lost all morale. That is why I think we should talk about migration, although it is not the main theme of my film, it is for one of my characters because I wanted to do the analysis of that microcosm, that analysis is not possible without migration.

The manipulation and corruption of language is currency in politics, advertising and the media. What is the weight of language in your movie?

In terms of audiovisual language, I tried more postmodern structures, to seek a transformation between tradition and the modern, to combine it. As for the dialogues in the Bavarian dialect, many wrote them, other times we improvised them. Language in both form and dialect is very important in the film. And about the manipulation, it is the power that the politicians have who right now in Bavaria, which is where I was born, are infiltrating fear through the language.

You have participated as a guest in the III Northeast Meeting of Women in Cinema. In Germany there are spaces for women in audiovisuals, which have been few if we review history. Today in your country there is more than before. Do you think we are already in better conditions for gender equality?

We are on the way, I think, if we compare the Fassbinder generation we now have many more women. But if you look at the numbers it is not so much, from the universities almost the same number of men and women graduate, but in the television industry, according to a 2014 report, 90% were men and 10% women; and in the cinema 80% men and 20% women. Budgets for making movies are much lower for women. It seems that those numbers haven’t changed that much in the past four years. Yes the situation has improved but that has nothing to do with talent, that is a structure that must be changed. I hope that the people in power see that this way of thinking is no longer feasible in our society.

Will you continue making movies?

Yes. Right now I am writing a script, if I spoke about rural childhood in rural noise, now I want to talk about my European period, I studied in Madrid and London and I feel European. I feel about the world, but if I have to define myself I am not only Bavarian or German, I am European and I want to talk about Europe because now it is changing in a different direction. For me, since childhood, it has been natural to cross borders without any problem, now we are at a point where it seems that we have lost it again. That is why I want to talk about Europe, about that and what is morally faced with what is happening with migration. How do we define ourselves against that? Now many countries go to the right.

Why do you use the word moral?

It was very strange for me to understand the history of Germany, I always asked my parents what had happened, I couldn’t imagine what had been done to people. Maybe she was too naive. Now I understand it better with what is happening in the world. It is not right that people are dying in the Mediterranean Sea. It is very evident that our lifestyle in Europe is possible thanks to what other people who live and come from the rest of the world suffer. N or want to deal with that debt.

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