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.

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.