Brady Corbet

Because the film was sort of, for me, it was, we always talk about the lives lost, of course, but there were also the livelihoods lost. And I... I... While, you know, going through the Bauhaus archives, looking at all of these unrealized projects. Right. It was so... It was devastating. Like, I felt really devastated about it. And...

Because the film was sort of, for me, it was, we always talk about the lives lost, of course, but there were also the livelihoods lost. And I... I... While, you know, going through the Bauhaus archives, looking at all of these unrealized projects. Right. It was so... It was devastating. Like, I felt really devastated about it. And...

Because the film was sort of, for me, it was, we always talk about the lives lost, of course, but there were also the livelihoods lost. And I... I... While, you know, going through the Bauhaus archives, looking at all of these unrealized projects. Right. It was so... It was devastating. Like, I felt really devastated about it. And...

I just thought about all these young visionaries that must have felt so exhilarated about the potential of the future. And then they had everything taken from them. And, you know, I just found it really, really profoundly upsetting. And I felt that the... Ja. Ja. And the film is working on several levels, of course.

I just thought about all these young visionaries that must have felt so exhilarated about the potential of the future. And then they had everything taken from them. And, you know, I just found it really, really profoundly upsetting. And I felt that the... Ja. Ja. And the film is working on several levels, of course.

I just thought about all these young visionaries that must have felt so exhilarated about the potential of the future. And then they had everything taken from them. And, you know, I just found it really, really profoundly upsetting. And I felt that the... Ja. Ja. And the film is working on several levels, of course.

It's a 1950s melodrama with a capital A antagonist that could rival Joseph Cotton or James Mason. And it also has the bluntness of a 1950s melodrama. And it was not constructed... Ja. Ja. And I was constantly like thinking, you know, like, oh, well, what would Douglas Sirk do? And that was sort of, I think, our guiding light through the process.

It's a 1950s melodrama with a capital A antagonist that could rival Joseph Cotton or James Mason. And it also has the bluntness of a 1950s melodrama. And it was not constructed... Ja. Ja. And I was constantly like thinking, you know, like, oh, well, what would Douglas Sirk do? And that was sort of, I think, our guiding light through the process.

It's a 1950s melodrama with a capital A antagonist that could rival Joseph Cotton or James Mason. And it also has the bluntness of a 1950s melodrama. And it was not constructed... Ja. Ja. And I was constantly like thinking, you know, like, oh, well, what would Douglas Sirk do? And that was sort of, I think, our guiding light through the process.

But of course, it's investigating very contemporary issues and those themes are universal. I mean, beyond, you know, the fact that our character and characters are Jewish and And their Jewishness, you know, is they all have a different relationship with. I mean, the youngest girl is clearly quite conservative or becomes quite conservative.

But of course, it's investigating very contemporary issues and those themes are universal. I mean, beyond, you know, the fact that our character and characters are Jewish and And their Jewishness, you know, is they all have a different relationship with. I mean, the youngest girl is clearly quite conservative or becomes quite conservative.

But of course, it's investigating very contemporary issues and those themes are universal. I mean, beyond, you know, the fact that our character and characters are Jewish and And their Jewishness, you know, is they all have a different relationship with. I mean, the youngest girl is clearly quite conservative or becomes quite conservative.

Whereas, you know, Adrian's character, I think, is is ultimately more consumed with, you know, his his body of work and his own ego. Like there's not enough space for for for a higher power.

Whereas, you know, Adrian's character, I think, is is ultimately more consumed with, you know, his his body of work and his own ego. Like there's not enough space for for for a higher power.

Whereas, you know, Adrian's character, I think, is is ultimately more consumed with, you know, his his body of work and his own ego. Like there's not enough space for for for a higher power.

Yeah, well, it was about the way in which the immigrant experience and the artistic one, for me, are very similar. Which is to say that, you know, an artist is fighting for the right for their projects to exist. You know, the immigrant is fighting for their right for their family to coexist. And I find that, you know, like the first chapter of the film, part one, takes its name from the V.S.

Yeah, well, it was about the way in which the immigrant experience and the artistic one, for me, are very similar. Which is to say that, you know, an artist is fighting for the right for their projects to exist. You know, the immigrant is fighting for their right for their family to coexist. And I find that, you know, like the first chapter of the film, part one, takes its name from the V.S.

Yeah, well, it was about the way in which the immigrant experience and the artistic one, for me, are very similar. Which is to say that, you know, an artist is fighting for the right for their projects to exist. You know, the immigrant is fighting for their right for their family to coexist. And I find that, you know, like the first chapter of the film, part one, takes its name from the V.S.

Naipaul book, The Enigma of Arrival, which is a memoir that he wrote. von Trinidad nach den USA, wo er 20 Jahre lang in Stonehenge gelebt hat. Und eine der Gründe dafür, dass es solche Kursen im Film gibt, sind die Signale. This is something that is bigger than one minority. It is something which is acknowledging all minorities and certainly all artists.

Naipaul book, The Enigma of Arrival, which is a memoir that he wrote. von Trinidad nach den USA, wo er 20 Jahre lang in Stonehenge gelebt hat. Und eine der Gründe dafür, dass es solche Kursen im Film gibt, sind die Signale. This is something that is bigger than one minority. It is something which is acknowledging all minorities and certainly all artists.