Nina Hoss über ihre Rolle im Film „Schwesterlein“

Nina Hoss über ihre Rolle im Film „Schwesterlein“

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That’s me. Hamlet.
The king of the Danes. – Sven! Hi… (- Hey Sven!)
– Careful, I’m contagious. I’ve got cancer. With someone like Sven, that’s Lisa’s brother,
that is his passion, his life. [NINA HOSS, ACTRESS] And he wants to defy death
by battling against it on stage. Because he feels most alive when
he is on stage. And there is this one sentence when she says:
An actor needs this feeling, and when you take this feeling
and these possibilities away from him, you will kill him more quickly
than any illness ever could. And so, that’s what I believe
the film is also about. That art has great vitality,
and that the creativity that we have – no matter in which form, one doesn’t
always have to do it professionally – but this idea of telling one another about oneself,
‘expressing oneself in a different form: Gives one a different experience of oneself, and
one learns something different about the other people. If we go right back:
This is how we express ourselves and how we learn from one another.
It all started with cave painting. It is simply the culture of telling
stories to each other and conveying things. And it’s the same in the film, too. It’s about all the big
fundamental questions of life: About love, death, loss, closeness, hope. And that helps one to relate to it. We all know that we will have enough
to do with death during life. Either we lose people
we love, or we die ourselves. One cannot avoid this. And sometimes, telling each other stories about
it can take away some of the horror. I believe for example
that it is noticeable during the film: To travel life’s path with someone
who is very close to one, and where one thinks:
“I simply cannot live without this person”, can also give one incredible strength,
because it means facing up to this fact and looking death right in the eyes,
so to speak. And I am always fascinated by the idea
that a film can do this. Because one simply spends two hours immersing
oneself in the life of another person and can relate to that person. And that person knows at an earlier point
that he doesn’t have much time left but he will only be ready to go once he knows: “She has found herself again, she will find her
strength and her creativeness again.” That she can express herself. That she knows again
who she is and what defines her and what her passion is
and that she will pursue it again. And then he is ready to go. These are the kinds of things we suppress, however,
we turn our eyes away. She is genuinely not aware of
when that was. Subconsciously she is, but she does not want to accept it.
Because: when you write, when you act, when you express yourself in any form,
you have to engage with these painful issues. You cannot avoid it.
That’s why she prefers not to write. Because this puts her at too much risk.
And that’s what she is suppressing. And he says: No, you must do it.
You must face up to it. And that is a great strength
if one can do it. – What’s up, is your eczema back?
– No, it’s nothing, just the nerves. – Do you want some skin cream? Corticosteroids?
– No, I told you, it’s nothing. Maybe I should try some of
your magic drops? – Go downstairs already. Dad is down there. Four drops per hour. Leave them under your tongue for 30 seconds, then you can swallow. – Hm! There’s alcohol in them.
Cheers! And now I’m completely cured. – Did you just drink the entire bottle? God, you arse. It is noticeable that everyone has a
different relationship to death. Lisa’s husband does not want
his children to be aware of how their uncle is dying, because he wants to
save them from this trauma. That is understandable. But Lisa says:
No, I will take away the trauma from them by letting them see that this is all
part of life. And they want to stay with their uncle
for as long as they can. So that is the gift I am giving them. Then there is the mother
who is completely suppressing everything, and who feels such pain
that her son is to die before her, that she simply pretends that
that isn’t the problem, but rather the fact that she doesn’t feel well. In other words, she twists all of the facts
completely so that she doesn’t have to engage with this pain. And of course in doing so is no help
to her daughter at all. [Doorbell rings]
– Come in, it’s open! – Hello!
– Ah. There you are. – Mum?
– Just coming. – What is all this stuff?
I asked you to do some dusting, and what do you do?
– Yes, exactly. – So what is all this? – Well you forced me
to tidy up. And I rediscovered a whole pile
of material. – I didn’t force you. – Your father left me archive material
and photos. And in the basement I still have a whole
wardrobe full of dresses. There’s a kind of lightness to this scene. For me, this made the relationship
clear: mother and daughter. They have had these fights in the past
and Lisa has given up. But all the same she keeps going back
and puts up with it, because she is family. Because that is her mother and
because she loves her for this burnt chocolate
cake. Ultimately, this family, and this is something I really liked, has a great acceptance of one another in some kind of misguided and bizarre way.
But there are of course conflicts about the way to deal with
a person who is dying. – What on earth did you do?
– I love you. – What? – I love you, my little sister. – I love you too, I love you too. – Do you need anything else? – You’re still my little sister, aren’t you?
– Yes. – Who was born two minutes after I was. – Yes, you are right. Two minutes make a lot of difference. – It’s my job to take care of you.

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