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Germany

Chiara Fleischhacker • Director of Vena

“I went through pregnancy and childbirth myself for the first time, but had never seen it represented like this in cinema”

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- The winner of the First Steps Award tells us about her motivation to tell this particular story and about her realistic approach to the topics it broaches

Chiara Fleischhacker • Director of Vena
(© Elisabeth Langer)

With Vena [+see also:
interview: Chiara Fleischhacker
film profile
]
, Chiara Fleischhacker presents an intimate portrait of a young mother striving for a better life for herself and her children. The German director's debut feature-length drama flick celebrated its world premiere last year at Filmfest Hamburg, won the First Steps Award for Best Fiction Feature Film and is out now in German cinemas, courtesy of Weltkino. We spoke to the helmer about her motivation to tell this particular story and about her realistic approach to the topics it broaches.

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Cineuropa: What does the title of the film refer to?
Chiara Fleischhacker:
It is short for vena umbilicalis, the umbilical cord. This is the closest possible connection between people and also symbolises the dependencies we have in life, both good and bad. The vena supplies and nourishes us, but in Jenny's case, this can also be harmful. It symbolises the negative dependencies that we have to let go of at certain times.

How did the idea for the film come about?
I was pregnant with my daughter when I was editing my second film, a documentary about the penal system. I was looking into whether pregnant women have to go to prison, and if so, under what conditions. That was the beginning of a very long research process, to which many layers of a personal nature were added. In other words, I wanted to give a very authentic picture of pregnancy and birth. I went through it myself for the first time, but had never seen it represented like this in cinema.

Apart from your documentary films about the prison system, could you tell us more about how you did your research?
I conducted over 100 individual interviews. It was important to me to talk to women who’d had similar life experiences to the protagonist, Jenny, and not just to people who talk about women like Jenny. That's why there were always two different perspectives. I spoke to former drug users, including people of different ages, women and men. I talked to people who work in addiction therapy, and to former prisoners. I've also been to various prisons, where I spoke to various employees, but also gynaecologists and midwives who work in the prison system. I attended court hearings at the district court, listened to women's hearings, talked to judges and probation officers, and last but not least, I got to know the techno scene. A lot of the details from the conversations also ended up in the film. One example is the couple's first scene, in which they choose the name of their child. In one conversation, a mother told me that she had also been inspired by her favourite character in a video game.

How did you develop the main character of the young mother?
I didn't want to incorporate several perspectives, but rather concentrate on Jenny's perspective. I wanted to get very close to her and portray her emotional world through sounds and colours. It also had to be sincere and respectful.

Did you already have a precise idea of what Jenny should look like when you started the casting?
Yes, I already had a lot of mood boards for Jenny. I also drew inspiration from everyday life and saw a lot of women who increasingly shaped the image of Jenny. This included the dyed black hair, the long fingernails, the long eyelashes and the make-up. There are many Jennys like that in my life, but also on social media. We prepared the casting based on this. Our casting director suggested Emma Drogunova very early on.

What were the most important aspects of Jenny's character?
Jenny has built up a lot of mistrust over the years and therefore has a gruff manner. In addition to this gruffness, it also had to become clear that, at her core, she longs for harmony and tenderness in life, for connection and warmth. This contrast was important. She is looking for a sense of security, both in her home and in her relationship with her boyfriend. Jenny has a great degree of sensitivity, but she only shares it with a few people, as she only trusts a few people. It became clear that Emma was able to depict this.

The main setting is Jenny's flat. How did you approach the production design?
We had two great set designers who took a lot from the script but also did a lot of research themselves. We spent a long time looking for a suitable flat. The story takes place in a flat in a skyscraper. The rose wallpaper was already there, which added to the feeling that our couple could have lived there for real. The colour scheme was important. Jenny, her colours and her orchids had to find their place in it. At the same time, the flat had to show the presence of Jenny's boyfriend, who is a handyman. It also had to be messy in parts to represent the abyss caused by drug use.

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