13/08/2021 - In his new film, the Austrian director seeks a dialogue with the devil himself

(© Locarno Film Festival/Ti-Press/Samuel Golay)

In the international competition at this year's Locarno Film Festival, Austrian filmmaker Peter Brunner presented his quite intriguing and dark drama-thriller Luzifer [+see also:
film review
trailer
interview: Peter Brunner
film profile], about the ambiguous relationship between a young man and his mother. We talked to the director about the inspiration behind the film.

Cineuropa: What was the starting point for the film?
Peter Brunner: I have been researching cases in which sons or daughters killed their mother. I was fascinated by the topic and read an article in the newspaper that finally became the starting point for the story. I am interested in analysing the microcosm between parents and children as I did already in my first film. A child can be the bearer of an ideology, a religious ideology. To create the role of the mother, I was inspired by records of strict upbringings and how children have been punished for not following the rules.

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How did you develop the concept of the film?
The mother and son relationship is at the centre of it. The mother tries to fill a hole within her with religion that in the past she filled with alcohol or drugs. I wanted to show that there is a difference between spirituality, which raises questions, and religion, which, apparently, gives answers.

What was your relationship with the place where you shot the film?
I visited the region over about three years. I have a special bond with alpine landscapes. They have something that actually reflects the relationship between a child and a parent. The mountains somehow encourage performance, which somehow reflects the expectations parents can have off their children. Then the environment also has something mystical. It is a place of longing, where you can get in a dialogue with a spiritual force, which could be God. Nature is like an additional character in the film. I liked the idea of using a hermetic place to set the story in.

How was working with the eagle?
It took as a year of preliminary work. Both Franz Rogowski and the eagle had to create an emotional bond with each other. We worked closely with a specialist and eagle trainer.

How did the connection with producer Ulrich Seidl occur?
I got to know Seidl through my previous works, he had already stepped in as a producer. When I was looking for a producer for Luzifer, I knew I didn't want to make compromises and I needed someone who would trust me. I was very happy with the collaboration. During the editing process, we had a great and stimulating exchange.

Why is Franz Rogowski the best actor for the role?
I have been observing him for a long time, looking at interviews he did, for example. Then I saw him in Haneke's Happy End [+see also:
film review
trailer
Q&A: Michael Haneke
film profile] and liked the emotion he transmitted in that specific dance scene. I was very happy he accepted the role. I think he brings something very personal and essential to the character.