The Teachers’ Lounge by Ilker Catak was nominated as the representative of Germany in the Best International Film category of the 96th Academy Awards. The film had its world premiere in the Panorama section of the 2023 Berlinale Film Festival and won the European Cinema Award. It is about Carla Nowak an idealistic teacher (played by Leonie Benesch) in a German school. When one of her students is accused of theft, Carla decides to get to the bottom of the matter. Caught between her ideals and the school system, the consequences of her actions threaten to break her. In this interview, I have talked with Ilker Catak about the process of writing the screenplay for “The Teachers’ Lounge” with his old classmate Johannes Duncker, the “MeToo” movement, and his directing style and working with his actors.
Shiva AkhavanRad, Universal Cinema Magazine (UM): The Teachers’ Lounge addresses the themes of racism, and rebellion, while also delving into the mistrust between different generations. It serves as a reminder of the profound significance of school as one of the earliest and most vital institutions for shaping character. As a filmmaker with a Turkish background living in Germany, have you ever experienced any kind of racism?
Ilker Çatak (IC): When I was a young adult, the police stopped me multiple times for no apparent reason—whether in the subway, at borders, or on the streets. Racism manifests in various patterns and forms. It doesn’t always involve overt acts; it’s often more subtle. There are hidden barriers that go unnoticed unless you’re consciously aware of them. It takes time to reflect on these experiences, and some of them have found their way into the film.
(UM): Can you talk about the shared experience you and Johannes Duncker had in school that inspired you to write the screenplay? How did that experience impact your collaboration and the creative process? Were both of you able to recall that incident clearly?
(IC): Yes, we underwent frisking during our school years. It’s a memory etched vividly in our minds due to its unpleasant nature. As we discussed it, we recognized the potential for it to serve as a compelling starting point for a story. Collaborating with Johannes was especially valuable in this regard, as we share common experiences that have significantly influenced us.
(UM): In the film, you showed how much pressure a teacher can face. In a scene from the movie Carla Novak (Leonie Banesch) takes a garbage bag from a trash and blows air into it to calm down, the amount of stress she has endured is too much and the situation is out of control. Have you received any notable feedback from teachers who have watched the film and resonated with Carla’s character and identified with her character?
(IC): Yes! Numerous teachers have expressed their gratitude for depicting the immense stress they sometimes face. It resonates particularly well with that audience. Many others have commended the thorough research put into it. It’s always gratifying to receive such positive feedback.
(UM): I really admired Carla Novak’s (Leonie Banesch) compassionate and vigilant character. She possesses a certain gravitas and genuinely cares about her students’ mental well-being. This quality is gracefully portrayed throughout her actions.
I’m curious, were there any real-life influences or inspirations that helped shape this character?
(IC): Not that I’m aware of, but in the end, we are the sum of our experiences. I’m certain there have been encounters that have influenced our perception of Carla Nowak; I just can’t attribute it to one specific person.
(UM): The close-up of Oscar’s face when Lucas says, “Some things, including theft, are hereditary and passed down from mother to son,” evokes a profound sense of sadness. His performance in the film was truly exceptional. Please let me know about working with Oscar and the other incredibly talented actors in the film. It reminded me of the words shared by a fellow filmmaker from my country, who once expressed how challenging it can be to work with children. In fact, their difficulties in handling child actors led them to refrain from working in the genre altogether.
(IC): Working with children is easier than one might think, especially when you’ve carefully selected the right individuals. For our film, I personally auditioned and chose each and every one of them. I engaged in individual conversations with all of them, emphasizing the concept of us being a family. I aimed to create an atmosphere where everyone’s ideas are valued and everyone can actively participate. Each day began with a conversation unrelated to the upcoming scene, allowing for a deeper exchange. I invested time in these discussions, genuinely trying to understand their perspectives and conveying my sincere interest in them as young individuals. I believe this approach instilled the courage in them to express themselves freely.
(UM): I wonder, where does Carla Novak go after school? Does Carla head straight home, pop a ready-made pizza in the oven, and enjoy a quick meal? Perhaps along the way, Carla takes a moment to smoke a light cigarette, as seen in a scene from the film. The absence of any information about Carla’s personal life leaves the audience in a state of curiosity, making me a curious viewer as well. Perhaps this curiosity was sparked by the magnificent and captivating performance of Leonie Benesch.
(IC): You bet it was.
(UM): Leonie Bensch is truly outstanding. Her charismatic personality shines through, making her a captivating individual. She exudes qualities such as determination, firmness, and love, blended with kindness and a strong commitment. I’m curious to learn more about your personal experience collaborating with her, especially since she was one of your top choices for this film.
(IC): Leonie is a true professional with exceptional work ethics, and her intuition is unfailing. Thanks to her precision in acting, we would wrap up early every day. This is a great advantage for me as a director, as I rarely need more than two takes. It has been one of the most inspiring and enjoyable collaborations I’ve ever experienced.
(UM): What are your thoughts as a male filmmaker on the Me Too movement that has emerged in recent years? Has the Me Too movement contributed to fostering a safer environment within the film industry?
(IC): I don’t want to generalize for the entire industry, but in conversations with my immediate colleagues, I sense a growing awareness of power dynamics and hierarchies. There seems to be a stronger inclination to question despotic behavior, which is a positive development. Your question highlights my identity as a ‘male’ filmmaker. I’d like to emphasize two points: firstly, the perspective needs to move beyond a binary outlook because we all exist on a spectrum, and reducing people to two options is limiting. Secondly, it’s crucial to acknowledge that instances of abuse can occur in various forms. I’m aware of cases where women have experienced mistreatment on set by female directors. The #MeToo movement extends beyond gender binaries; it’s about power and consent, affecting everyone.
(UM): Are you familiar with Iranian cinema? If so, could you share your favorite Iranian films and filmmakers whose work you admire?
(IC): I admire filmmakers such as Abbas Kiarostami and Asghar Farhadi. Of course, there are many more great Iranian filmmakers, but those two have had a big impact on me.
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