The limitation of perception causes the fear of the unknown. The unknown seems unimaginable.
We don’t experience it: So do we only see what we know?
“Doors of perception” is a fairy tale in black light. In a world where the unknown is black infinity
an individual wakes up and has to look for her ways in darkness. She sets off to search for the familiar, the trustworthy. But does the truth lie in the visible?
About the film
“Doors of perception” is an experimental short film, which was shot exclusively in black light. Only UV-active materials glow in this light, everything else remains invisible to the human eye. The film tells a story of an archetypical character “human”, whose convictions are confronted with the new reality.
The question of faith and perception is as old as humanity itself, but it remains relevant. Only the fear of the new is enormous. When the exterior framework collapses, when certain coordi- nates break, the temptation appears to come back to old structures and values.
The goal of the film is to encourage viewers to start questioning. “Nothing is what it seems” is the message which the film wants to convey using the unusual mean of the black light. In every complete belief system, one sees only what one knows. Also, when there is more to it we want to provoke to look behind the horizon and enter the new world. But what does the world of nothingness look like?
Crew & Cast
Director: Caroline Schwarz
Costumes & Set-design: Anne-Simone Vogt
Director of Photography: Joshua Conens
Lead role: Meike Frevel
Sounddesign: René Wilbrandt
1st Assistant Director: Anke Vera Zink
Assistant Camera: Natalie Pusch
Set-Runner: Bastian Köhn
Technical Assistants: Ascan Helmbold & David Rivoir
Costume Assistant: Laurence Cuenod
Catering: Laura Skandy & Laura von Bloh
Supporting role: Pia Koch
Human pile: Felicia Bergström, Zuzanna Grajzner, Mohammad Ali Karimkhani, Pia Koch, Steffen Maurer, Sophia Riepe
Interview with director Caroline Schwarz
What inspired you to make this film?
I loved the possibility of having no space. In every other movie you always have space and you can’t avoid it because you need light and as soon as you have light, you can see everything. So the idea of having no space was very appealing to me and it was also the biggest inspiration.
What came first: the image or the story?
It came from the visual. First, I structured the film with a storyboard and later on I tried to capture, whatever I was doing with the pictures in some sort of a script. So the story came later.
Are you particularly interested in experimental filmmaking?
Yes, my interest goes towards experimental filmmaking. I enjoy experiments in the visual style, but on the other hand I still want to have at least some kind of a story.
Would you say, you were well-prepared for this shoot?
Yes, but it wasn’t easy. I don’t know anyone who made a film with black light. That’s why we had the test shoots. We had to try everything out. And then the things about which we were sure would look great, actually looked terrible and things we weren’t so sure about, would work surprisingly well.
Do you have any anecdotes from the shooting?
Well, there was this thing with our main actress’ costume. We wanted her to be wrapped in the white strings but we also needed her to be in a morph suit, completely black from head to toe and the challenge was that she had to be in this costume for the whole day and also go to the bathroom or have a break sometime. Of course you can zip in and out of the suit but wrapping the strings around on top every time seemed too time-consuming, so we tried to build a construction on the morph suit that would allow her to zip herself out of this thing with the strings attached. My costume designer first tried to stitch the strings on to the suit, but that was a lost cause. Then she tried to glue the strings and the poor actress had to sit in costume and wait for two hours until it dried. So we thought we would do it this way, but then, one day before shooting the costume designer and I, we were sitting there, looking at it and thinking: “it’s so bad, it looks really bad”, because the strings would loosen and move, she looked like she was wearing a cheap Halloween costume, a mummy made of toilet paper.. It was awful.
We ran out of options and so one day before the shoot we decided that there was no other way, but to wrap it around her every time. It was even more complicated, because the costume desi- gner had to try to match the continuity and always wrap the string the same way. In the end, it worked ok and Meike was really brave, she was in this thing for a very long time.