before even The Nightmare begins appearing warnings on the black screen: Flashing lights, isochronic tones and binaural frequencies could cause health problems, seizures. But then it says succinctly: “Anyway … this film should be played loud!”
We are thrown into a heavy bass party night, in the world of party animals affluent youth. At the pool edge to dance in flickering lights, well within the 17-year-old Tina (Carolyn Genzkow). For them and their girlfriends, the stroboscopic-feverish nights strung together. Outbreaks of the sheltered family life in the Berlin suburban villas.
Even with its first images will the Nightmare be different: hot-blooded, uninhibited, just as what is commonly from German cinema knows. Written and filmed the mystery-drama was by a man named AKIZ. He was twice nominated for the Student Oscar, in the US, he worked for many years as an advertising and documentary as well as a visual artist. One of his sculptures is the nightmare. Even 15 years ago, the cast stone figure arose, told the artist in an interview with TIME ONLINE . The artwork continued to develop over the years: AKIZ missed the sculpture a more realistic surface later joints. “At some point there was a monster in front of me, a movable nature.”
AKIZ,
real name Achim Bornhak, born in 1969, studied at the Film Academy Baden-Württemberg , His movie debut The Wild Life (2007) on Uschi Obermaier was nominated for the German Film Prize. The director then distanced himself from the film, and has since worked under the stage name AKIZ. His feature film The Nightmare was awarded the Young Film Festival Max Ophüls Prize 2016th
In the film the nightmare, this naked, concrete gray mixture appears from fetus and old, Tina in the kitchen of the family home. Horrified grabs Tina flight. Her parents take away the fear of the daughter initially seriously, leave the following day the house of a security service to investigate. Alone, one finds nothing and first doubts arise. Was it all just a nightmare? Not at all: Henceforth the ugly demon increasingly common, empties the fridge or sitting silently watching television. Only Tina can see him. They tried initially to get rid of the unwelcome companions found but soon with its presence from. Finally, in her germinates even tacit affection for the peaceful Alb.
The symbolism behind the disguised as a monster movie coming-of-age drama is easy to dissolve. The phlegmatic Nachtmahr embodies all that the girl on the cusp of adolescence prohibits: the courage to ugliness, childishness, gluttony and sloth. Visible for parents and friends it is only when Tina confesses to the vicious beings.
exciting thing about this film is not so much the story but rather the way they AKIZ staged. Long after he had a cameraman looking who was willing to put his picture aesthetic ideas: the cinema for unusual wide angle to the need for additional lighting. “The answer was always: ‘This looks like nothing,’” says AKIZ. “I then replied: ‘That should also look for anything.’” To set artificial light he perceives to be as anachronistic as powder for the actors.
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