Now, with the pandemic, you listen to all of these media reports, and you start to believe it's the end of the world.
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Maybe what holds you down can also be your weapon? And maybe you can use your handcuffs to actually free yourself? We talked about it changing colour, which you can notice in the film, and while it's a physical burden and a clear death threat, it also holds some answers and things she can use. It's scary, having something like that attached to you, but it also helps her move forward. I love how you decided to literally follow the light of her bracelet. The more you run from it, the worse it gets. She has to face it physically but also mentally, and it's just always there. It's a symbol of the loss she experienced, a loss she has to run from – or so she thinks.
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When he shows up at the beginning, they go: “Ok, here comes another movie about a girl meeting a boy, and a boy going nuts and trying to do crazy shit in a car.” But then it becomes something else. I wanted to lead the audience in the wrong direction. Why did you decide to have him in the film as this additional threat? Peter Franzén's American accent is so good. It was very divisive: people either loved it or hated it, but now, once you see the fighter that she is, hopefully you are eager to know more. I knew I could do it because I did it in Hostile, which was half-love story, half-post-apocalyptic movie. Then we change a bit there are some emotions. When people come to see a film about traps and claustrophobic situations, you have to commit to that – at least at the beginning.
It's tricky, however, because whenever kids are mentioned, things can get sentimental. You mentioned being interested in her being a mother and that experience taking over everything else. We had real fire in the scene, but it was our last day. Then, I just wanted to play with the elements – water, fire – and to have all this happen for real. It's our unique source of light! I love Arrival, and the inside of that ship could be made of metal or stone it's futuristic, but it could have been made by the cavemen as well. So we used this strange metal that we needed to create for the film, and then we focused on the light on her bracelet. In sci-fi, one of the clichés is to have many LED lights. Viewers watch so many movies these days, and they are used to not having all the answers. I did so in my previous film, too, Hostile, where I didn't explain the apocalypse. This is something I just like to do, having these Easter eggs that people can later dissect online. There are clues in the movie, some of them so well hidden that I think no one will ever find them. But I did write down all the explanations, what it all means and why she is like this. I made a pact with myself to have some mystery. You don't explain that much in the film though, in terms of why she wakes up in that place and who the hell has braided her hair. It's true – she becomes a fighter almost in spite of herself. It's almost illogical, but there is this animal instinct that kicks in, and you don't even know why. “This is not a movie where we look at your body it's about going through that experience with you.” At the beginning, Lisa is a woman who doesn't want to live any more – then she fights for her life. I didn't want to be a voyeur, and we talked about it with Gaia, even when discussing her costume. She is a mother, or rather she was one, and now she has to deal with the death of a child. I really wanted to use that feeling to tell a story.Īpart from all these traps, I thought it would be interesting to focus on what's inside Lisa. But it works very well in cinema, in movies like Buried or Cube. It's in all of us we are afraid of being stuck like that. Mathieu Turi: I am not claustrophobic at all, but even I would be frightened watching this kind of movie. It's the kind of fear that's just universal. Cineuropa: It's always so uncomfortable watching these claustrophobic situations.
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