LOS(GE)LASSEN – THE STORY
ALINA (JOSEFINA VILSMAIER) lives in a flat, together with two other women. In an overpriced metropolis like Munich, even women over thirty have to share an apartment to barely make it. Alina is pregnant, due in two weeks and totally unhappy. She wanted to keep the child, although the father to be, whom she deeply loves, is married and also her boss. Alina is a silent grey mouse, with little courage and even less self-confidence. She is still under the thumb of her mother, with whom she cannot live, because she herself has been accommodated in a temporary apartment. However, there is more power in Alina than she herself suspects.
The apartment belongs to LUCY (SILKE POPP), a self-confessed artist, with no income. To keep herself above water, Lucy is renting rooms in her apartment. She expresses her homosexuality openly and often behaves harshly because she believes that one would expect this from her. But this is not the real Lucy. Under her coolness she hides a scarred heart.
The third roommate is CHRISTA (MIRIJAM VERENA JEREMIC), a former successful female skier who now has an amputated leg. Unfortunately, she did not lose her leg in a ski race – otherwise she would be living off her insurance. She was riding her bike drunk and fell stupidly. For this she punishes herself with a job as a secretary, does not drink anymore and lives ascetically in every sense.
And there is Lucy’s new crush: A beautiful, smart young woman from Somalia, shaped by life: JESSICA (SALBER WILLIAMS). She will be the big surprise for everyone.
Alina’s mother, MADAME HARTMAIER (UTE BRONDER), is the example par excellence for an
unteachable generation of women who stick to conservative values. Madame Hartmaier’s stolid prejudice is: a hearty meal solves any problem and without a man, a woman is only worth half as much. That is why she blames her daughter for being pregnant without a husband. She is an authoritarian woman, trapped in her own conservative world, which she wants to impose on Alina too.
The neighbor is a divorced woman whose grown up son is out of the house too. MELISSA (VALENTINA SAUCA) is lonely, lets herself go and lifts up more often in esoteric realms. But she would never admit that she is a loser, on the contrary, she needs to prove anyone that she still has everything in her life under control.
These women are now dependent on each other.
Because the city was hit by a blizzard.
Nothing drives anymore, nothing works in the entire city.
Inevitably, there are arguments in the shared flat, seething conflicts. Prejudices and accusations flare up and the disputes escalate to tangible attacks.
Women can be terrible nasty to each other and on the other hand they have the tendency to self-destruction.
And just now Alina’s water bursts and she goes into acute labor.
No emergency doctor can be reached, none can drive Alina to the hospital. What now?
To make matters worse, the power goes out – in the whole city.
This emergency welds the disunited women together again.
And Jessica, the young woman, of whom one thought least, takes over command. Alina can, thanks to the solidarity of all, give birth to a healthy baby girl.
Is it a new beginning for the six women – together with the newborn?
©2020 TRIARTE INTERNATIONAL
BEHIND THE SCENES
WHY IT'S TIME FOR THIS FILM:
Being a woman today is a tightrope walk between defending rights, gender discussions, debates on quotas, working off clichés and the romantic longing for just “being a woman”.
Women can only escape the vicious circle when equality does not have to be questioned, when it is a matter of course that women are paid equally and that they do not have to fear being sexually insulted, persecuted or even physically attacked.
They are on a good path, but still far from reaching their goal.
To make matters worse, women too often envy and criticize each other and forget to stick together…