Valeria and her cow Păuna and dog Duracell. Matthäus Wörle: 'After a few days, she felt that she could do whatever, whatever she wanted' Where We Used To Sleep is the assured first feature from Matthäus Wörle. In it he returns to the Romanian mountain village where Valeria Praţa, who previously featured in his short film Geamăna, lives. The village is home to about 1000 people but many have been forced to leave as their homes slowly sink into a growing poisonous muddy lake caused by the local copper mine. As Valeria faces up to her inevitable displacement, Wörle follows her day-to-day life and talks to her about her predicament, while also offering historical context in the form of Ceaușescu-era propaganda films about the copper mine.
The film had its world premiere at Thessaloniki International Documentary Film Festival, where we caught up with him to talk about his approach.
The film had its world premiere at Thessaloniki International Documentary Film Festival, where we caught up with him to talk about his approach.
- 3/26/2024
- by Amber Wilkinson
- eyeforfilm.co.uk
Valeria Praţa is facing a change she does not want. A life-long resident of Romania’s rural Apuseni Mountains, her home is now threatened by flooding from a poisonous lake created by a local copper mine. The sickly mud and water have already claimed much of her village, including the church where her grandparents are buried. Now as the lake draws closer to her front door, Valeria must gradually come to terms with, potentially, having to leave her beloved cow Păuna behind and moving to the city with her dog Duracell to live with her son. As she succinctly puts it: “It hurts my soul.”
Becoming invisible is an observational documentarian’s most essential trick and one that Matthäus Wörle and his cinematographer Moritz Dehler achieve with the apparent ease of David Copperfield in Wörle's debut feature. What’s all the more admirable is the way he marries this to a more interrogative approach.
Becoming invisible is an observational documentarian’s most essential trick and one that Matthäus Wörle and his cinematographer Moritz Dehler achieve with the apparent ease of David Copperfield in Wörle's debut feature. What’s all the more admirable is the way he marries this to a more interrogative approach.
- 3/26/2024
- by Amber Wilkinson
- eyeforfilm.co.uk
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