PARZIFAL, a German young man, like a child that goes through fevers and dreams experiences homesickness. He lives through a delusion. He can’t find home in himself, his safe place.
With a lack of connection of anything around him he moves from the City of Angels back to his homeland Germany into an abandoned castle in order to fill this terrible emptiness that formed through his absence from his homeland. He reties the broken self and the threads of his life. The walls of the old castle start to talk to him. He meets aspects of himself in the castle. He discovers his soul. Are we parts of different people? What happens when you retreat from your thoughts? Yourself? to talk to him. He meets aspects of himself in the castle. He discovers his soul. Are we parts of different people? What happens when you retreat from your thoughts? Yourself?
I tend to take a documentary approach to the storytelling that is both participatory and voyeuristic. The cinematic language allows space for performances as we strive for authenticity. I favor a minimalistic, documentary approach, lightning from outside, using natural light when possible, shooting scenes in oners for spontaneity and effect as well as multiple cameras to let the performances unfold. It’s all about stripping the artifice of filmmaking away and reaching for something true and authentic.
When we shoot I discover more in the moment and I embrace the unknown, it feeds me. I do love rehearsals as a guided approach on a feature. Improvisation is a great tool as well in rehearsal and sometimes during a take. The script is an idea, not a finished reality. I take liberties with it. I take advantage of stuff that is coming to me that is not written on the page. I can’t make a movie that is alive if it’s pre-planned. The way I approach writing my films is the way I make films: the moment a film chooses me it will arrive & unfold in its own time… it should always be naked & willing. I have always felt a strong pull towards iconic moments of beauty and the surreal quality of random existence and that sensibility informs my cinematic work.
Diese Suche, diese Entscheidung in sich selbst zu gehen, nach sich zu suchen weil eigentlich ist man ja sich selbst die eigene Heimat. Die Heimat is ein Fieber, ein Kind, das Fieber hat.
Das verlassene Schloss entschleiert eine unbekannte Seele – seine Heimat – die Lebenskraft, eine höhere Einsicht – die Liebe.
Ist Parsifal Alina?
Jeden Tag stilisiert er sich in eine Daseinsphase, träumt sich in einen anderen imaginären Character hinein.
Die innere Welt wird zertrümmert. Die Einflüsterungen erscheinen plötzlich im Licht des Alltags.
Jeder seiner Gedanken wird zu einer Realität. Phänomene, Erscheinungen von sich selbst begegnen ihn im Schloss.
This search, this decision to go into yourself, to look for yourself because you are actually your own home. Home is a fever, a child who has a fever.
The abandoned castle unveils an unknown soul – its home – the life force, a higher insight – love.
Is Parsifal Alina?
Every day he stylizes himself into a phase of existence, dreams himself into a different imaginary character.
The inner world is shattered. The whisperings suddenly appear in the light of everyday life.
Each of his thoughts becomes a reality. He encounters phenomena and appearances of himself in the castle.
Diana Cignoni is a German American filmmaker who got a start in acting at an early age working at the HB Studio in New York. She later moved to Los Angeles where she studied with teacher Charlie Laughton, Al Pacino’s life-long mentor and friend while performing in award-winning productions of plays by Brecht, Beckett and most recently starring in Brian Friel’s Faith Healer at the Odyssey Theatre. It was in Los Angeles that she developed into a thoughtful independent writer and filmmaker and her work has been recognized in multiple film festivals in the United State and Europe. Diana has also directed documentaries and fashion videos including short films for Port Magazine, Playboy, FHM Collections and the Geothe Institute of Los Angeles.