Sara Miro FisherFirst feature of “Good sister“Debut in Panorama section in this year’s Berlinley, and Diversity Special access has been given for the trailer of the film. We also caught with the new mint director, who talked to us through development and production processes for their large -scale student -led production.
The set in Berlin, the film turns on the rose, a young woman who faces a life-transit dilemma when she is asked to testify as a witness in the rape case against her elder brother, Sam. “The Good Sister” is co-composed by Fisher and Egnes Marad Peterson and presents an entertaining story that examines the deep emotional effects of the test on the family.
You have written this film with Agnes Magard Peterson. How did you get that process, and how did both of you divide your responsibilities?
Fisher: Because it was not our first project simultaneously, there was great confidence and praise from the beginning. It was a beautiful process. Initially, I had the idea, “What if your brother was accused of attacking someone?” This was the first question with which we started. When the agnes jumped, it was great to be a dynamic between the two minds that bounced things back and forth. This made the process very quickly because we had immediate reactions. We worked for a long time on treatment, so when we made our first draft, which we wrote separately but at the same time, they were very similar because the treatment was so developed. After production began, he also visited the set, and we spoke regularly throughout the process. It was a beautiful process working with him.
Can you talk about jumping from being a short filmmaker and a student who is now facing a full-90 minute who has made it in one of the biggest festivals in Europe?
Fissure, I was very curious the whole time. I think whatever happened to me was curiosity. I enjoyed passing through each stage of the project, which are prepared for a long time at a feature. I remember to work with Mary blocking, lead. After about two weeks, we had a relationship, and we could almost communicate without words. The having these long relationships on a project was a rewarding experience. Certainly there were challenges, as a short film’s dramatic feature is very different from a film.
The film reflects the collateral damage to misuse. What did you inspire to take this perspective for your story?
Fissure, I think it is interesting to see the results of such work on the people and criminals around the victim in this case. This is an interesting situation that I think many of us know in different contexts, when you are close to a conflict, but not directly affected. It still has an effect, and you have to decide how you want to navigate the situation. I feel that it becomes so complicated when it has a lot of it. This is not something where you can turn off the TV and continue your life normally. It has a very concrete effect, and I had not seen so much in films or stories before.
I think it is important that you portrayed the brother’s character as a human being, who is capable of this terrible task, not as a monster.
Fissure, Yes, I think it was necessary for us that he was not necessarily sympathetic, but he was a human and man does these things. We initially tried to show that she is someone whose younger sister goes for rest. She is a safe place for her, and her house was a nest, where she could be creeping at night and felt that she could be bowled like a small cat on her bed’s leg. Then, we can take it away again. Information comes, and suddenly, security does not feel safe anymore, and there is a change in how he considers him and how he is behaving. Everyday wants to be this good brother, and she really needs to be what she sees her at the beginning of the film. This is why it is so difficult for him to decide what to do.
Can you talk about the relationship between your two major actors and how did it develop through production?
Fissure, We had a rehearsal of about two weeks before the shooting. We improved many scenes between brothers and sisters, which had nothing to do with the story or film, just to make a back story or dynamic. In any family, this side of you is always when you are with each other. You have a role that you play again and again, and we need to fix these roles for both of them. When filming began, both of them were very open to rehearsed this way, and we all knew each other better. On the set, the entire shoot was tension because we mostly shot chronological. Not strictly, but mostly. This created a feeling of disturbances among the characters that actually affected the mood on the set. At the beginning of the shoot, the team was in a good mood and was almost fickle. During filming, things became more serious on the set as people became more in the moment because the story was more serious. It was a complicated process to inspect.
