FILMATIQUE: Take Me Somewhere Nice traces the return of Alma, a young woman living in the Netherlands, to her native country of Bosnia in order to bid farewell to her ailing father. Like many aspects of this film, this narrative premise functions more as a point of entry to other explorations— of fleeting adolescence, female desire, time, our origins and our material connection to the self— than strictly a matter of plot. What role does the unexpected play in your work?
ENA SENDIJAREVIC: The unexpected plays a big role in my work, because it embraces the human desire for adventure, for letting go of control, for playfulness and magic. Unlike Hitchcock, I feel much more attracted to surprise than to suspense. This is why the magician in the end of my film announces the snow that suddenly comes falling down as 'a surprise.' You don't see it coming, but at this point the viewer hopefully embraces it anyway.
I feel that in life, a lot of things happen that you don't see coming. Instead of constantly feeling overwhelmed, or afraid, I think surrendering to all the crazy twists and turns in life is a better way of living. I have put this approach to life at the core of the film. I used the minimalist plot just as a vehicle to make this approach tangible.
FLMTQ: The film furthermore possesses a unique temporality which, like its narrative, does not unfold linearly but is rather subject to divergences, departures and interruptions. In this sense the film challenges both orthodox storytelling techniques and the spectator's expectations of what a film can and should be. As a director, what is your philosophy regarding form vis-à-vis content; how can these structures be re-conceptualized to communicate more diverse versions of reality?
ES: To me, form is content. There is no division. Form is all you experience from cinema. There is nothing more. I get very surprised when I hear people say that a film is 'too focused on form.' As if using form is optional, and you can use too little or too much of it. Even filmmakers who are not aware that they are using form, who think that socio-realistic narrative cinema is an objective, form-less way of storytelling, are using form. Form is the combination of images and sound to transmit a cinematic experience. This experience is the content of the film. Thinking about form is being aware of the relation between the film-world and the real world. Form-less films do not exist: only filmmakers unaware of form.
To me, it is very important to communicate to the viewer that the film is subjective and personal, that I am the one behind it. I want to viewer to feel the perspective of the film because this re-balances the power relationship between the filmmaker and the audience. When thinking about form, this is what I try to achieve— a certain kind of transparency.
FLMTQ: In what ways does your philosophy implement itself practically in Take Me Somewhere Nice? How does the manipulation of filmic form resonate with this story in particular?
ES: We used humor and a Brechtian way of presenting the materialistic world that our characters are lost in. I wanted to create a stylized world, a world that would feel constructed, because I wanted to show through this film that this materialistic bubble we live in is a construct as well. And when you feel that our society is constructed, then you understand that change is possible.
By often using a 25 mm lens, the world presented becomes a bit absurd. I wanted to focus on bodies, on the way our animal part tries to break through constructed materialist society. A lot of times parts of bodies are shown, but cut off by the 4:3 instagram frame. In this way, the girl and her body are deconstructed by the film form. This film is also about sex, loneliness, the relation to our bodies. About borders. The static and kitschy film language is focused on all these subjects.