"Hallo Berlin, From the Interior" introduces place and memory as subjects of and means to autobiographical filmmaking. Situational life experiences are invariably important to creative endeavors, whether explicitly, or implicitly. In situating these emotions we begin and indeed cannot help but talk about the known yet unsaid of our surroundings. This is walking a line between art as communication, and as mere utterance: how we understand the world around us, and the process by which we constitute our individuality. "Hallo Berlin, From the Interior" is also an enactment of, and claim, to individuality. This enactment has a tense relationship to place. Places seduce, discipline, imprison, and reject. As a film therefore takes place – in the sense of happening – it is also taking place – in the sense of claiming it; be it only for a singular life, or thought.