While filming independent drama DystopianEvaluation“The stars Elizabeth Olsen and Alicia Fase Alexander Nature is found to be a decisive point of communication to understand the world of strange and amazing science fiction.
In theaters now, the Fleur Fortuné feature has been set for the first time in the post -terrible scene that husbands have to undergo a test by the state to see if they can be allowed to become fathers. Mia (Olsen) and Arian (Hemish Patel) accept a resident of Virginia (Vikander) at their home for seven days. Soon they found that the evaluation literally requires the spouses to show the skills of paternity and motherhood, as Virginia behaves as an actual child who needs to shower and feed.
With the evaluation development, viewers also learn the conditions that led to this society in which the government controls reproduction. MIA and Aryan’s Life are a mixture of superior elements and familiar elements – their home is located next to the ocean and is equipped with smart voice orders and “office” where Aryan generates virtual animals. Mia tends a greenhouse close to plants and swimming in water. Their community is divided from the “ancient world”, a region of the land destroyed by the climate crisis that it eliminated years ago of humanity years ago.
This catastrophe is suspended in the background and allows the film to ask hidden questions about paternity, ethics and climate issues. Olsen and Vakand spoke diverse By zooming about photography in the Canary Islands in Spain in Tenervi, how the natural environment formed production and physical knowledge of characters.
How was the work with Floor?
Fener Alexander: I think we have spent really great time. It is really good to catch up now and see each other again. We were talking a lot, both of us, that we really inspired when we encountered her work and we watched almost somewhat music videos she presented before. She is a strong feeling of visual in her visual, which is really impressive. I think, knowing that, after seeing it, she would face this story, mixed with the type of topics and items for this type of intimate room piece, we were very excited to work with it. And yes, it is her first movie. But she knows exactly what the movie she wanted to make, directly from the beginning, and she felt that she had a way to communicate with her vision and ideas in a very wonderful way from the beginning.
Olsen: Yes, it’s really a unique person. Just to quote her husband, he always says that there is a “film candidate.” So you may read a book and think about something in the book, but the way Fleur is treated in its own candidate.
I know that Floor said that her interest in the film has arisen from her Experience with artificial inseminationAnd compare it to the current state of reproductive rights. Were you also thinking about the hypothesis of the film through these angles?
Olsen: The method, as an actor, communicate with different stories that are always very personal, and I think the thing that I found in liberation in this movie is that he does not tell you a statement of what to think about it or faith or feel it. It allows you to think about your innate rights. It allows you to think about the resources we use on this planet, allowing you to think about the reason for my desire to become one of the parents? Who gets these resources? Why is it worth using resources? Thus I think there are many things that are elegantly presented to the public to stay away from thinking without giving you a thesis statement. You get those ideas and experiences that all conclude in a game that these characters play in the end with each other. So there is this humor and absurd drama as well.
What do you think of preparing the actual science fiction when reading the text program? It is very specific to other science fiction films that exist there.
Fener Alexander: I think we got a hint that it would be a completely different thing, I love a kind of musk, membership, gallstones, dusty and large, and something we took very far from any kind of simple that you may have seen in this type before. I also like the side of the nature to be a huge thing. We clearly shot this film at Tenerife for the Exterior, and that was a great place for us to start between elements, winds and fires. There were fires in the actual forests while we were there. I think this was brought to this living space. I thought it was great to see history from the world before, and that was inside the house. It was like small memories of the different things and materials that were present before, and I felt like a living space.
When talking about this house, when you went up to the group, what is your reaction to the way they turned describing this future house into something tangible? Do you coincide with what you think will look?
Olsen: I think there is a filter. I did not know how it would appear, and I found it very clear to us to understand the privilege of these two people, and I find that it is interesting that Arian and Mia’s characters are very distinguished members in society, and not because of some random capitalism, but because of this because of this in this world because of their work and scientific discoveries. Although we are in this future dyslexia, there is something interesting about the idea that the people who create, are the most useful, are the ones who have this privilege. I don’t think we really respect the people who make the world a very safe and living place, so I was interested in that.
But you can see their privilege inside space because it is huge. The thing I was really excited to see most of them is the Aryan desk, my office, the greenhouse. For the Aryan office, I was very interested in how to create this infinite space, and used this black sand that reflected the volcanic island that we were on, and everything that brought comes from these sand there. Everything was clearly thinking, of bricks that would have been in that natural space to jewelry to the point that you would find washing on the beach from time in a world before. It was really a wonderful collection of a movie that had a small budget.
Alicia, I want to ask you about playing Virginia. How did you withdraw act as a child? How much is the rehearsal involved?
Fener Alexander: We always train a day, but sometimes it is a pleasure for everyone, both when you give and receive in cooperation with other actors, it is good to have a specific element of surprise at the present time. It was an annoyed nerve, but I was also excited to reach the point of the performance of these sides to Virginia. It was a lot of preparation, for sure, I did in my house. But I had a two -year -old child at the time, and he was actually like four, four and a half months of pregnancy by the end. So I felt as if I had a lot of inspiration.
I was talking a lot about that that the greatest revelation for me was that it was many memories that came to me while performing these scenes, from the behavior that I had at a very early age, almost like forgotten memories. I think I realized that, my God, there is a feeling that these are things that would really frustrate me, or the things that make me happy or afraid, and it was certain elements that some things came very naturally. I did not want to make a caricature. I wanted to make something real, deep and something that, at a certain level, may make our characters actually connected.
What is the most difficult aspect of behavior like a child?
Fener Alexander: I think with age, stop using your body less. It is incredible to see a kind of nature. Keep up with this type of endurance, from feeling like: never stop. My mind was always looking for something, doing something, believing that you are talking about something while trying to do something else, while I was already thinking about what I do after that. So why may I feel bored? It was a fixed engine inside me, and I think this was really useful when I found it, but physically, it was more drained.
Elizabeth, how did you swim your approach with Mia and your understanding of that character?
Olsen: She is in her body and is associated with the nature that needs to be in every element of her person, from the clothes she wears until she loves the way she preserves her hair – there is just a brutality and natural that came with how she moves across space. Only when you are around the evaluation, she begins to sit differently or tries to be as polite as possible, because she comes from this life where her mother was this free thinking, and a strong courageous woman who has her conflicting feelings. Usually, with the construction of characters, I would like to start with a voice, whether it is an audio shift or a tone, and it is not logical to it. So it became much more than that than just being in her body in a way that I felt I was not in a movie, in fact.
In terms of greenhouse, how was it in that material space, by contacting plants? How did that also formed your personality?
Olsen: What was incredible was that everything was real. Everything – the irrigation system that it built was real. The plants were real. There was nothing one that was a fake plant there. It was really strong. It was built in Tenerife, at the site in this volcanic rock, seeing these sensitive flowers, plants, and foodstuffs are able to survive while there is a fire in Tennervi and these crazy winds that were very repressive, and the fact that we were able to grow there, I really felt our group.
Elizabeth, how did she use Mia’s experience with her mother to explain things about the condition of the personality and the way she lives her life?
Olsen: I think there is a feeling of giving up when you are a child, and someone chooses to leave. I certainly faced this experience with my grandmother, from which I was not close. But when I spent a holiday with her, I sat next to her for Christmas, and I didn’t spend much time with her. We just started chatting, and never stopped talking. She just sat on this schedule and asked her questions about her childhood. Her childhood was completely impossible, then she was one parent, raising four children immediately after the Second World War, and worked her back on the factory work, and when she had an opportunity as a great woman to have another husband and traveled in the world, she did. I was actually affected, for the first time in my life, I learned her story, and every feeling I had where I thought, “Oh, my grandmother has never gone” as a little girl because she lived her life, and found that this courage and strong.
This is what I feel about Mia with her mother. She feels giving up at the beginning because her mother chose her beliefs about raising her children. And I think you have a lot of anger and resentment, and there is a point in your life, whether it is through an experience, an age or any life that happens to you, that you are tolerant and that you are actually able to admire the options of someone like this, to do the brave thing and live life and do not feel that they should do something only because society tells you. We have one life and how do we choose to live it? So I feel that it was a kind of Mia’s decision, which she eventually made in the movie.
This interview has been edited and intensified.
