Every year, Karlovy Vary International Film Festival collects a great selection of short films, made by film students and graduates from various countries of Europe. With their unique style, vision and brave mix of genres, the 10 newcomer directors of the Future Frames are showing a promising future for the European cinema. We made a short interview with all directors who got selected, for the first time, meet Maria Luz Olivares Capelle, director of Wald Der Echoes (Forest of Echoes).
Maria Luz Olivares Capelle

Maria Luz Olivares Capelle

Biography of the director: Born in Argentina, Maria studied Film Directing at the E.N.E.R.C. in Buenos Aires before coming to Austria to attend workshops and courses at the Vienna Film Academy. In 2015, she graduated from the Film Academy after participating in the film directing masterclass given by Michael Haneke. Maria had previously received a special mention in the category of experimental animation for her cinematographic essay APARICIONES at Vienna’s One Day Animation Film Festival in 2014.

Wald der Echoes (Forest of Echoes)
A teenager, Christina, loses her friends in the forest. Looking for them she finds the bodies of three drowned kids on the shore of a lagoon. On summer holiday, deep in the woods, three kids, cousins, are playing around a lake when they find a drowned young woman drifting in the water. Games, lies and rituals unfolding into a circular time in which death loses its ultimacy. What is real and what is a mirage? Who is dreaming and who is being dreamed?

Wald der Echoes

Wald der Echoes

What was your first thought when you realized you got into the Future Frames?
More than a thought it was a physical reaction: I was relieved!

How do you prepare for the festival? What do you expect from it?
I sewed a dress and I saw all my Future Frames colleague’s short films. I am very excited and I am sure that it will be a very nice experience!

How is the film education in your school? Do you get funds for your short films there?
The Film education at the Vienna Film Academy is very solid. A lot of information is available to the students.
On one hand, for every subject (direction, script, etc), there are very experienced filmmakers who are teaching on their field. On the other hand, for each short film project, each student has access to a very updated Film Equipment (cameras, sound devices, computers, etc). Furthermore, the students receive an amount of money to invest in the film production, which is a great help to enable the production of the films.

Your film is mixing the world of dreams with reality, like the children’s fantasy mixed with harsh adult topics, like dealing with death. How did you come up with the idea of it?
I was making a documentary film with children Interviews. We were talking about similar topics like death, Got, universe, soul, etc. Their answers were so amazing, that I thought they could be actually the dialogues of a fiction-film. Besides, something in those conversations reminded me, some stories my mother told me when I was a kid. She used to live in a town crossed by a very dark-green river. Many kids got drowned there, and she witnessed at least twice how adults were looking in the water for this missing children. This stories absolutely shocked me. I guess this film is a mixture of both elements. The dialogues from the children Interviews, and the stories of my mother.

The three girls are continuously reenacting famous statues and paintings. What are these art pieces representing, what are they meaning for you?
I wanted to create moments where it could be possible to talk about death but without drama. And the idea of children recreating great emotions and solemn moments amused me. I was thinking also in the idea of film as a time machine. If somebody stops moving and suddenly starts moving again, that corresponds to exactly what film does. Film creates an image and then sets it in motion. These children stop the film: the narrative moves forward. It is like “Film” making its own selfie. Besides, this Statues and Paintings contain condensed elements which are processed by the film on a different level: the Small defeated the Great, the liberty, the death, the redemption and the resurrection. What means to be death? Is it enough to not move, to be dead? Like a statue? The film plays with the possibility of resurrection through a statue which becomes alive. Or at least, try to erase the clear limit between to be dead and to be alive.

All the girls are having this angelic yet mysterious vibe. Do you feel close to this mythological world?
I like mysteries, and things I don`t know, and I can not explain.

How was the shooting, what is your favourite memory of it?
The shooting was very difficult, but it was a very important experience for me and I guess for all the team involved.

What is your next film plan? Are you preparing for a short or a feature film soon?
We are working with Karin Macher (production) and László Váncsa (director of photography and editing) in order to shoot this summer the next short film. It will be an experimental short about Identity. And I am writing a feature film.

Director’s bio, short film summary, and photos from the official website of the Future Frames. More interviews are coming with the directors!