Zijn de karakters werkelijkheid, of bestaan ze slechts in de verbeelding van een ander? Een spel met de continuiteit van tijd, de grenzen van ruimte en synchrone, parallelle realiteiten.

Nick en Anna gaan voor zes maanden naar Zwitserland. Nick wil recepten uit de lokale keuken verzamelen en Anna hoopt uiteindelijk een nieuw boek te schrijven. De verandering van omgeving kan ook goed zijn voor hun relatie, want Anna weet van Nick’s affaire met hun buurvrouw Andrea, die uit het raam sprong. Mischa zal voor de vis en de philodendron in hun Weense appartement zorgen terwijl ze weg zijn. Op een bergweg botsen ze op een schaap en beginnen de absurde gebeurtenissen zich in hoog tempo af te wisselen.

Naarmate het verhaal vordert, worden zekerheden ondermijnt, begint de realiteit te vervagen en neemt de verwarring toe. Ze verschijnen in de verbeelding van andere mensen en bewegen door vreemde koppelingen in geografische dimensies. Op welk punt begon de plot eigenlijk? Zijn de personages echt zichzelf, of slechts hersenspinsels van iemand anders? Het wordt een spel met de continuïteit van tijd, de grenzen van ruimte en synchrone, parallelle realiteiten. Er ontstaan ​​verwarrende verbindingen tussen het appartement in Wenen en het Zwitserse chalet, sprongen tussen verschillende tijden, en personages lijken meerdere identiteiten te vervullen.
Ziet de ijsverkoper in de naburige stad er niet uit als Mischa? Is Anna’s jaloezie ongegrond, of moet ze luisteren naar het advies van de pratende kat? Is Mischa eigenlijk Andrea?
Tiere is een grote mindfuck, alsof je (ver)dwaalt in de wereld van Borges.

Regisseur Greg Zglinski, geboren in Polen en opgegroeid in Zwitserland, creëerde een film als een multi-dimensioneel labyrinth, die de kijker meer en meer verbijstert en verwart naarmate hij vordert. Hoewel elke scène op zichzelf logisch in elkaar zit, is het aan de fantasie van de kijker om te bepalen hoe het geheel in elkaar past. Maar ook al houdt de film zich niet aan de wetten van de logica, Tiere wordt nooit onduidelijk of ontoegankelijk.

facebookpagina TIERE

The world behind the world
I feel drawn to this story in a magical way. The first time I read the screenplay I had the feeling that I had touched on the secret of life and death. I had the feeling that the world is much bigger than we see and experience it in everyday life. And I had the feeling that this is real. I would like to pass on this feeling to the audience of the film.
It’s a game with perspectives. Who is imagining whose existence? Or is he imagining somebody who is in turn imagining something else? Who is true? Who is really there? In whose head is this film happening? And what is the role of the animals? It’s the logic of a dream that evades our usual experience of perception.
However, it is above all the story of a man and a woman who try to find a way to each other but have a hard time because they seem not to live in the same reality. Isn’t it in fact the case that, when emotions come into play, we lose all feeling for space and time? And in the final analysis, aren’t we all alone with our emotions? This story is a mystery, one that only allows us to sense that behind the visible world there is another, invisible, one.
Greg Zglinski

Vanaf 5 juli 2018 is TIERE te zien in de filmtheaters:
De Filmhallen, Amsterdam - Het Ketelhuis, Amsterdam - Rialto Amsterdam - Filmhuis Den Haag - 't Hoogt, Utrecht - Filmhuis O42, Nijmegen - De Lieve Vrouw, Amersfoort - NatLab, Eindhoven - Focus Filmtheater, Arnhem - LantarenVenster, Rotterdam -Lumiere Cinema, Maastricht

Vanaf 23 oktober 2018 op DVD verkrijgbaar!

Zwitserland, Oostenrijk; 2017; kleur; 95 minuten; Dolby 5.1;
Duits, Frans gesproken; Nederlands ondertiteld.


Acteurs: Birgit Minichmayr (Anna), Philipp Hochmair (Nick), Mona Petri (Mischa/Andrea/Eisverkäuferin), Mehdi Nebbou (Tarek), Michael Ostrowski (Harald)
Productie: Katrin Renz, tellfilm, Stefan Jäger, tellfilm, Bruno Wagner, Coop99 Filmproduktion, Antonin Svoboda, Coop99 Filmproduktion, Lukasz Dzięcioł, Opus Film
Camera: Piotr Jaxa
Muziek: Bartosz Chajdecki
Montage: Karina Ressler
Scenario: Jörg Kalt, Greg Zglinski
Design/Set decoration: Gerald Damovsky
Sound-Design: Laurent Jespersen

Over de regisseur:

Greg Zglinski (Warschau 1968) volgde de Pantomime en Acteerschool in Zürich, waar hij al 15 jaar woont. Film studeerde hij aan de Nationale Film Aacademie in Lodz, Polen. Hij is een oud-student van Krzysztof Kieslowski.

2001 On His Resemblance; 50 min.
2004 Tout un hiver sans feu (One Long Winter Without Fire); 89 min.
2007 Na dobre i na złe (For Good and for Bad Times); TV series, 3 episodes, 50 min. each
2008 Pitbull; TV series, 4 episodes, 45 min. each 2009 Londyńczycy (The Londoners); TV series, 6 of 13 episodes, 45 min. each
2011 Wymyk (Courage); 86 min.
2012 Paradoks; TV series, episodes 1-6, 45 min. each
2014 Zbrodnia (The Crime); TV series, 3 episodes, 45 min. each
2016 Le temps d’Anna (Anna’s Time); 85 min.
2017 Tiere (Animals)


De pers over TIERE

Verwacht niet dat je deze surrealistische mindfuck volledig zult doorgronden, maar dat is ook niet de opzet.
Cinemagazine ****
lees de recensie

It’s as cinematic as a story gets and at the end of the day dissecting it to bits won’t do it any good. All we can say: it just works, on a gut level and on an aesthetic level. I have my version(s) of what happens and what it may mean; similarly as Zglinski and Hochmair have their own. Yet it’s not the destination, but the journey there which makes Tiere worthwhile and a wild box of fun. After the credits rolled, I wanted to see it again.
Berlinfilm journal

Viewers willing to play along will accordingly navigate this rabbit warren in a multitude of ways. What some see purely as a cool, perverse experiment in story architecture may strike others as an emotionally heady, tangled metaphor for marital distrust and dysfunction: Amid the conflicting shards of (sur)reality in “Animals,” the brittle, raddled performances by Hochmair and, in particular, a fiercely on-edge Minichmayr are certainly human enough to hold onto.
lees de recensie in Variety

In any case, Animals works just fine both as unorthodox genre thriller and mind-bending mental puzzle. Crucially for a story that plays fast and loose with narrative sense, Zglinski maintains a tight grip on the suspense lever, keeping us guessing until the final scene and even afterwards.
lees de recensie in hollywood reporter





“Love can only be possible if these concepts dissolve“

Jörg Kalt came up with the idea for Tiere. How did you end up directing the film?

Greg Zglinski: I read Jörg’s script in 2006 when I was on the awards committee of the Zurich Film Foundation. All of us on the committee were very keen on the text, and we assured him of funding for the project. When I learned later that Jörg was dead, it was a huge shock. The impression I had of his creative work suggested a person who was much more closely allied to life than death. And I couldn’t get his uncompleted film project out of my mind.
Four years ago, the director and producer Stefan Jäger and I decided to make the film – we’ve known each other for a long time. I had explained to him and his production partner Katrin Renz that the story of Tiere made a big impression on me, and that I’d like to film it, so I asked them to find out what had happened to the project. It turned out that Jörg’s brother had the screenplay in a drawer of his desk, so apparently it had just been waiting for me.
What was it that appealed to you so much about the idea?

A film is a dream that is perceived and experienced in a very real sense. That’s what attracted me to the movies as a kid. The first films I made, even before I went to film school, were more like filmed dreams than fully narrated stories. After film school I became more interested in psychological drama with a strong emphasis on reality, probably influenced by Krzysztof Kieślowski.
With the film Tiere, which occupies the space somewhere between reality and dream, I have the feeling that I’ve returned to my film roots, to a magical and mystical interpretation of the world that surrounds us. The screenplay had a dense atmosphere that reminded me of films by David Lynch, Roman Polanski or Stanley Kubrick. The first time I read it, my heart was pounding by the time I finished it.
You wrote a director’s version of the screenplay. What was your aim?

I was determined to retain the original construction, the tone of the story and Jörg’s humour. At the same time, I had the feeling that the characters, their conflicts and the links interwoven between them could be deeper and more complex. I let myself be guided here by the experience on my earlier psychological films. The most important things for me were that despite the non-linear narration, the tension should be maintained throughout the whole film, and that the audience should get close to the protagonists.
What were your intentions while directing this film?

From the very start I saw Tiere as a universal story about a relationship between a man and a woman who want to be close to each other but find it difficult because they each live in their own concept of reality. So love can only be possible if these concepts dissolve. I wanted to embed this idea in the existing story.
However, I also wanted the audience to discover a world that is considerably bigger than what we are able to perceive with our senses. The accent is on ‘discover’, because Tiere is much more an experience than a classic story that takes the audience by the hand and leads them along.
Were there any distinctive features about pre-production – the casting process, for example – the shooting itself, or the post-production phase?

The whole film was distinctive, from the very beginning, starting with the script, which had been haunting me for so many years. The casting process was distinctive in that I was able to select four of the five main actors – Birgit Minichmayer, Philipp Hochmair, Mehdi Nebou and Michael Ostrowski – very quickly from the first presentation given by the casting agent Lisa Olàh, purely on the basis of demo reels. I was certain right from the start that they would be the ideal cast, which was confirmed when we met up again later, and during the filming itself. With Mona Petri it was the other way around: I changed the character in the screenplay slightly so she could play it.
The members of the crew were distinctive in that their personalities and devotion to the project had a strong influence on the film. Among them was the outstanding set designer Gerald Damovsky, who died just recently; he told me that Tiere was one of the most important films of his career.
Is Tiere the first film you have directed in German?

Yes, though it’s actually curious that I haven’t done so before. After all, I grew up in the German part of Switzerland, and German is as much my mother tongue as Polish. I made my debut film Tout un hiver sans feu / One Long Winter without Fire and the TV film Le temps d’Anna / Anna’s Time in French, and Wymyk / Courage and all the TV series in Polish.
Interview: tellfilm, January 2017


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