1 14-year-old Lis, walking in a cornfield on a sunny day, her palm brushing her spike. Suddenly, the sky becomes dark and an ominous red cloud is formed from afar, advancing ominously towards it, then there is a rain of blood on its face.
The next day, Lis, one of eight siblings, will be the first in her family to go to school. But then a dramatic turn of events casts doubt on his future.
Den Set in a farmhouse in West Juteland, Denmark in the late nineteenth century, the “as in heaven” tea marks Lindenberg’s characteristic debut. Selling Denmark Level, it is based on a literary classic, “An Deadsnot” (“A Night of Death”), based on Marie Bregendhall’s 1912 novel. The sequence of her blood cloud opening turns into a previous dream, as Lis wakes up one morning in her bed which could completely change her life.
Which in a way seems to be the main point of the film. A lightning title for the Danish production Shingle Motor produced by Lis Arheim Stander (“Heartstone”) and Jasper Morthurst (“Silent Heart”), it is the world at the Discovery Division in Toronto before celebrating its European debut in the main competition at the San Sebastian Festival.
Liz dreams of going to school, as women’s education begins to become one of the battles fought for by women. But that dream of liberation is endangered by family responsibilities as a woman, almost 150 years after the story is still pressing a challenge.
More than anything else, a classic period drummer breaks the scene, true as a portrait of young female consciousness “as in heaven”, kaleidoscopic, chaotic, ranging from an orgasm to Lis’s own sexual temptation, sudden momentary imagination and self-awareness that sets him apart from other characters. By This creates an extraordinary scene when Lis looks in the mirror fully aware of her future destiny.
Diversity The film spoke to Lindbergh just before the Toronto World Premiere.
“As in Heaven” begins with a dream, which was Lis’s dream. Although a period drama depicting rural life in Denmark in the 1880s, it removes straightforward social realities, I think, as a portrait of a young woman’s emerging consciousness needs to be developed on multiple levels, sexual, social, and even gender issues. Can you comment?
It was not my ambition to tell straightforward social reality stories. Life is not the way I feel or see it. And just as importantly, not the way rural Danes lived in the 1800s. They believed in signs. And philosophy. And destiny and .god. I thought it was important to include the whole level, to try to understand how life was understood then. Lis’s point of view is not included in the original novel that has been adapted from it, these are my own explanations and an attempt to emphasize why the mother’s point of view has so much weight in the story. Because a big part of the novel is Mom’s dream, and how her vision is about to end. But Why It became true that we would each make our own decisions.
The feature makes huge problems such as a woman’s life subject to her family responsibilities. Although these are never openly expressed in dialogue. Again, can you comment?
I didn’t see the need for it. It comes with what comes through the film. I was drawn to this story not because of a political program but because of the frustration of a young girl who lost everything in one night. By the story of the birth of destruction. A time has been set that depicts female characters and destiny that is not so long ago. How fragile a life is, how small we humans are, and how relevant this story still seems to me because we stand on our former shoulders, just as others will stand on us.
The film is inspired by the groundbreaking novel of 1912 by Mary Bregendahl. Despite his reputation as a regional painter, he seems to be significantly more modern in incorporating the content and eroticism of his writing into narratives. Is this something that attracted you about adaptation?
These two elements were not part of the original story.
His novel is told through an omniscient personality, almost like a like god character, who sees everything from above and comments on what is happening and at the same time it is in the context of the future and the past.
It was my own decision to include the thematic approach. Both in the form of Lis’s point of view but also in telling the story through him.
Incorporating pornography was a choice that seemed important to me. This is a girl who is about to leave her childhood at the doorstep of femininity, who has faced the deepest depths of being a woman (in a traditional theological sense) and who feels that her own emerging innocence may one day lead to where it should be. What drew me to the story was Lis’s frustration and loneliness. And his inability to act. Her idea is that she somehow thinks she can influence the outcome of her mother’s labor but in reality has no power over her mother or her own destiny.
What were your main guidelines for “such as in heaven”?
I have tried to be honest. Honesty to the period, honesty to the character and situation but most honestly to Lis and her journey.
And to me that honesty was poetry. Trying to express emotions on an equal level of action. Cinematographer Marcel and I will deal with most of the scenes: if we only have one shot, how do we tell this scene? Some of the one-shot scenes are still in the picture, others are broken, but it was an effective way for us to focus on what the essence of each scene was.
We were always ready but always took the time to re-evaluate and grab the gifts displayed on the set. Like a butterfly.
Managing kids was her own thing. There needs to be a place to get honesty from kids, play and have fun. Some scenes with older kids were guided by specific conversations so they had to be handled quite strictly, but others needed to feel alive and spontaneous and playing was a key word for that. And a lot of hugs.
You created “Equinox” for Netflix. Was that experience so different from making it “like heaven”? Or maybe “Equinox” is hard to compare to your original podcast?
The experience of making them was almost incomparable.
Just given that one is a TV show and the other is a movie that made the experiences completely different. With Equinox I had to give the scripts to another director, so a big part of it was sharing the vision and making sure he understood my thoughts but also had a place to add his own voice.
“Come in Heaven” is a movie I’ve wanted to do for nine years. For many years I was alone with this story. The first creative person I created after the producers got involved was the production designer. We worked very closely with how we wanted this world to be. The rest got involved one after the other, but it was always more of a partnership at different stages, me and the photographer, me and the editor, me and the sound designer etc, so I felt like I had a lot more control over every step. Everyone was present to help me meet my vision and I am grateful for their generosity and how generous they were all with their creativity. There was something about the project that the people involved really invested in themselves. It was a magical experience.
But what brings “Equinox” and “As in Heaven” together is that they were both projects of love for me. That’s true. And in many ways both are too much Me.