We were able to to interview Alexandra Bekiou, who wrote, directed and produced the powerful and highly philosophic short film, All Die Welle Brach, or, As the Wave Broke. The film has been doing very well on the film festival circuit, and is truly a beautiful film. Thank you for having a chat with us.
Darida Rose, UniversalCinema Magazine (UM): What was your inspiration for As the Wave Broke?
Alexandra Bekiou (AB): I was inspired by various stories of people, a woman’s
biography, and my own experiences of physical abuse. I wanted to
incorporate some of my father’s wisdom into the film, which has
inspired me all my life in all philosophical points of view. My
statement ist hat nobody should find themselves in the role of victim.
No matter what happened to you.
(UM): Orson Welles once said that, “he enemy of art is the absence oflimitations.” I’ve often thought this is one of the reasons the violin, with it’s simple four strings, is such a powerful instrument. With your film, you’ve also managed to convey something very powerful within the limits of a short film. Can you speak about the challenge of delivering such powerful material in such a simple form?
(AB): There are no limitations form e. I am completely free from it. I think we succeded in evoking the strenth oft he film, particularly through the poetic narrative form of storytelling. With simple pictures, strong locations and a very strong and simple held performance by the actors. The violin played a strong role in my own life as I was a violin virtuoso myself. Playing that instrument, the sound and its melodies have always been liberating for me.
(UM): Can you tell us what it was like to work with Katerina Giannakopoulou? How did yo manage to coach such an emotionally intense performance from her?
(AB): The most challanging was to prepare the actress Katerina Giannakopoulou for the main role. When I told her about my film idea, she was immediately taken with it and absolutely wanted to play the role of Julia. We were looking for a location together and while we travelled along the cost of Holland and found every single one oft hem within 4 days, I told her every single and importang detail of the story and the emotions I need. We immediately went through a few things on site. She spent a year preparing for her role in the best possible way. In particular, showing her how to hold and play a violin was the hardest issue. But she did it brilliantly and I am truly proud of her.
(UM): Can you tell us about the production? How long did it take? Did anything unexpected happen?
(AB): It took me about 2 months to get the final screenplay. Within 3 months I was busy with location scouting, financing possibilities, offers for the equipment and a lot of conversations to get everything organized on Set, so that we could all start working on Set from day, in peace. I had really positive experiences during the planning, because I got to know many people from Germany and Holland who found my film history and theme very interesting. So I didn’t need any filming permits, and with rental prices they all met me very well. My plan is deffinetely to direct and create special movies. The biggest challenge, however, was the weather conditions. When i found the locations it was August and we shot the film in October. You can imagine that they were two completely different views. But without actually knowing it, I needed exactly the weather we found in October. Unexpected but exactly what I have needed.
(UM): The cinematography is quite striking. What was your vision for the cinematography and how did you coney that to your cinematographer?
(AB): I owe the cinematography, or rather the visual representation, to my cameraman Lukas Herbrand, among others. When I told him the story and showed him all the photos of the different locations, he knew exactly how I had the pictures in my head. With his own brilliant ideas, the film became clear to us within only 4 hours, as we wrote down the shotlist. I call it chemistry between us.
(UM): What about Homer’s Odyssey do you find so powerful? Why not, for example, The Iliad?
(AB): The Odyssey was decisive for the scene at the lighthouse, because Odysseus has been looking for his home for years by wandering the seas. The same applies to each of us who never feels at home in any way, for whatever reasons, and who wants fo finally set his own anchor somewhere without wandering around the world. As for myself, I am still searching for it. I think the Odyssey was perfect for this scene and the whole movie.
(UM): Your film deals with loss, pain and the desire to create. How important do you think artistic creation is for dealing with life’s difficulties?
(AB): It’s hugely important. Coparable to a song, ist lyrics and meldoy. The same thing happens in making a film. Writing down eyperiences, portraying them on film and leaving statements can not only help viewers, but especially oneself. I would call it self-therapy. In my own experience, I have never needet the help of a psychologist. I wrote everything down, thought about it and decided for myself never to look at myself in the role of a victim. I have always been a fighter by nature, or from my own will, and the film is the first step in touching people with similar experiences and make them think. Think about if they see themselves as a victim or as a winner coming out of a situations as survivors.
(UM): Can you tell us about any future projects?
(AB): First of all I am re-writing the exposé and my script for the „Feature“ of As the wave broke / Als die Welle brach… But it will be a cinematic film with dialogues as mostly dramatic scenes of two people. Nevertheless, I got an offer for being part as an assistant director for a long movie that will eventually be shoot in 2021, also a biography from the latest 50’s. Since two months I also got an offer from a young new upcoming filmmaker to work with him together on his own drama short film, which will be financed by a scholarship, so I am writing with him together the script and will assist him as well as co-produce the film. Afterwards I will help him out for the national and international submissions at the film festivals.
By: Darida Rose
© 2021. UniversalCinema Mag.