Interior

The burglar Kasimir uses a hollow couch to break into other people‘s homes and secretly film their private moments. The recordings are given to Dr. Liebermann, who watches the films to try to learn how to feel emotions.

KASIMIR (25) uses a Trojan couch to infiltrate houses. Once there, he secretly films and is picked up again a few days later: "delivery error". He delivers the tapes to the brain surgeon DR. LIEBERMANN (50), who uses it to try to learn how to feel. While Kasimir provides him with more footage of further break-ins as proof of his love, the doctor, unimpressed, prepares an awake surgery in his cellar. The hospital's ethics council did not approve it, but Liebermann sees an opportunity for his patient. Broken by unrequited love, Kasimir begins to break with Liebermann's dogma: never intervene in what happens in front of the camera. An unforgivable breach of trust. During Kasimir's last break-in, Liebermann places a tiger in the apartment, which kills Kasimir.

Keywords: betrayal, tragedy, LGBTQ

Director's note:
In 1973, burglars devised a unique plan: hiding inside hollow couches that were delivered to homes while the owners were on vacation. Fifty years later, I heard about this unusual case on a crime show on German television, which inspired me to create INTERIOR. Our film reveals the primal human urge to uncover the secrets of others, while fiercely guarding our own as if they were vital organs.

As a queer director, it was crucial for me to cast the two queer protagonists of our film with actors who truly embody these roles. However, I wanted to avoid overemphasising this aspect. It is subtly woven into the narrative but is not the central dramatic element. Nonetheless, I believe that by presenting a queer psychological thriller, I have brought a fresh, innovative contribution to the genre.

INTERIOR is a journey into the deepest corners of the human soul and an attempt to dismantle the boundaries between reality and fiction, between the facades we maintain and the truths we conceal.

Producer's note:
On the streetcar, at the airport, in the supermarket, in the doctor‘s waiting room - you see people everywhere and you wonder what it‘s like in their homes. How do these people live? What do they do differently from everyone else? Do they perhaps have something to hide? I am fascinated by the desire to take a look behind the curtain, where it comes from and what happens when you give in to this desire completely. It became clear early on in the development of the film that we had to find a way to depict the most diverse realities of life in a differentiated and, above all, credible way. This diversity and the complex organisational structure that was necessary to bring all of this to the screen was and is what has always inspired me to work on INTERIOR.

INTERIOR is a bold, special film. At times it is sensitive, almost gentle, at other moments merciless and cruel. It is a very multi-layered film that rewards attentive viewers: not only visually, but above all emotionally.