20/02/2025 - BERLINALE 2025: We talked to the German director about the origins of her latest feature, which reunites her with Nina Hoss and on which she also worked with non-professional actors

(© Dario Caruso/Cineuropa)

In Ina Weiss's film Cicadas [+see also:
film review
interview: Ina Weisse
film profile], which just premiered in the Panorama section at this year's Berlinale, Isabell (Nina Hoss) is hitting a wall – taking care of her elderly parents has dominated her entire life – while single mum Anja (Saskia Rosendahl) can’t keep a job, bouncing from one place to another. Their problems are different, but they recognise something in each other, and it could change their lives for the better – or maybe for worse. We talked to the filmmaker about the genesis of the project, working again with Nina Hoss, and her desire to let the spectator think for herself.

Cineuropa: This friendship, this whole relationship, doesn’t really make sense on paper. Why did you want to show two women finding solace in each other like that? 
Ina Weiss: They are so different, but they meet at a point in their lives where there’s a possibility for them to establish a relationship. It might not have been possible before or later. Now, in this difficult time when people don’t even talk to each other, it’s especially important to show that two people from very different backgrounds can still find a common language. That being said, they are similar, in a way. They are both looking for their place in the world. They are very sensitive and torn inside. One takes care of her child, the other takes care of her parents. They have lost a little bit of themselves, and they notice it.  

The idea of always taking care of others is something women grow up with. They do forget about themselves too easily. 
I think that’s still very much the case in our society. Of course, the role of women has changed, but you do feel responsible for others, for your family. Although I have to say that I have a brother and he’s even more involved in taking care of our parents.  

Do you see it as a film about loneliness, to a certain extent? They don’t have anyone to turn to. Even Isabell’s husband, instead of helping her, abandons her at the airport! 
I think you are alone even if you have people around you – you are also alone in death. There are valuable moments in relationships, though, and life is all about brief moments anyway. It’s like when you go on a long journey; later, you only remember some parts of it. These two women are very insecure; they both have secrets. They have difficulties with opening up emotionally. But I like it when, as a viewer, you are given a chance to read between the lines. I like it when it comes to acting, too, and that’s how life is anyway. People don’t show what they’re feeling so directly, it’s usually more hidden. Some things are just not obvious.

Were you looking for something specific when thinking about casting? For some qualities you wanted them to have? 
I have to say it all started with this little girl in the film, who plays Anja’s daughter Greta. I’ve been accompanying her with a camera for a while now, for another project. This story came from her story. Another thing that started to interest me was this narrow line between non-professional and professional acting. I think it creates a greater openness. Nina and Saskia knew their lines, but non-professional actors didn’t. They only knew what the scene was about. It forced everyone to really react to each other and to listen. Also, I wanted to work with Nina Hoss again after The Audition [+see also:
film review
trailer
interview: Ina Weisse
interview: Ina Weisse
film profile]. I like to continue such relationships, because you can build on something that’s already there. 

This story is full of darkness and when I think of dark stories, I think of grey skies, cold weather. You do something completely different: you surround them with this beautiful, warm summer. Why?
This heat and this light bring something unexpected. I find this contrast so intriguing. In the winter, this place where we shot can be so depressing. It would be a completely different story. But I have to say, I wasn’t really trying to show darkness here. I’m just trying to show that that’s how we all are: we all have two sides. Women, and men, can be soft and they can be strong. They may be constantly living with a sense of shame, but they also try to get by. 

At the very end, you take a turn into an odd, in my opinion almost genre-like, territory. Did you want the audience to wonder what will happen to them?
I think that everyone who sees the film will draw different conclusions. I like that about stories, when you keep on thinking about them. It is a little bit scary, that’s true. You don’t know exactly what kind of person Anja is and what you know about her past can be troubling. In my view, leaving things unsaid is generally easier in books – people draw their own conclusions all the time. But as a director, I want to make sure it’s possible in film, too. I want you to be able to feel, and think, independently. I wanted to leave it open: their relationship changes, but in what way exactly?