![]() They liked the first editing draft a lot and helped us with the post-production. We desperately needed co-producers, and luckily, I met the guys from Common Ground Pictures and Film i Väst at Cannes. And when the world around us collapsed, we found ourselves without any resources. We finished shooting four days before the war, almost one year ago. Since then, she has lost her memory, but also has gained the ability to see smells. A girl miraculously survived the 'Bar code' murder case. Since then he has lost his senses, not feeling pain, tasting food or smelling anything. Why did you make it a co-production with Sweden? Three years ago, a man lost his younger sister in a murder case. But during the editing, I thought that I could not do that to my Kira and decided to leave the ending open – it’s like a hint that becoming an adult confronts you with complex choices. In the initial version of the script, she accepts and gets into his car, perhaps to pursue an easy life. ![]() T he final line in the film, when this old er friend of the parents tells Kira that beautiful girls should not work and invites her into his car, opens up a very broad perspective of what her life could potentially turn into. But both I and Karyna resisted, and we made it in the end. Afterwards, we spent a year in rehearsals, and I had a lot of pressure from the team during that period because they did not believe it would work. Just before the casting, she cut her hair short, and when I saw her photo with this clumsy, funny look, I thought she would be the right choice for the main character. I had cast another curly-haired and more experienced girl before Karyna, but in the process of looking for supporting actors, she popped up with a video on Facebook in which she was sporting very long hair and introduced herself as a professional handball player who would like to try out acting. Even her hairstyle brings to mind the plumage of a baby bird that’s just fallen out of the nest. How did you cast Karyna Khymchuk in the central role? She is very organic in her vulnerability. It also reflects the atmosphere of the scary, unknown future, the one that was waiting for us in the 1990s and the even scarier prospects we have now. The film was conceived before the invasion but, in this current situation, takes on a double meaning. It came out rather intuitively – something must have been absorbed from the galvanising air outside. Was this double -layered narrative a conscious goal? One could indeed draw a parallel between the divorce in the family and the disruption on a political level between countries and territories back then and now it is a subtle political implication that provides food for thought. That’s one reason why the film might seem particularly relevant now. Unbeknownst to her, she has also been given a new identity under the name Oh Cho Rim. I was interested in the process of growing up internally against the backdrop of the collapse outside – something which happened in Ukraine with the fall of the Berlin Wall and which is also happening currently. When Choi Eun Seol wakes up from a coma, she not only has amnesia, but the ability to see scents. I fictionalised a few moments from the traumatic divorce of my parents, while bringing in elements typical of the 1980s and 1990s so that I could create a universal coming-of-age plot to which more people would relate. It is not an entirely autobiographical story, because at the time of Perestroika, I was seven years old. The idea emerged five years ago, and since then, I have rewritten the script many times. I wanted to stop the process, at least for a moment, and preserve what was left. The urge to do so came when I started realising that time was melting away in my memory and the images were disappearing. I needed to say goodbye to my childhood and to some illusions. ![]() What made you want to go back to your adolescen ce ? The Berlinale synopsis defines the film as semi-autobiographical. When Choi Eun Seol wakes up from a coma, she not only has amnesia, but the ability to see scents. I wanted the audience to smell the smells and to hear the sounds of their own childhood. Episode 1.1: With Shin Se-Kyung, Yu Chun Park, Jin-Seo Yoon, Min Namkoong. So I approached each frame and each detail in the set design very carefully, such as the clothes, accessories and chewing gum, for example. For me, it is really off-putting to watch movies with an obviously imitated historical environment. Ton y a Noyabrova: It was extremely important to recreate this atmosphere as authentically as possible and to avoid fakeness. A Girl Who Sees Smells: It's a 2015 South Korean television series.Cineuropa: What strikes us at first glance is that Do You Love Me? is not simply a period movie, but does indeed look like a film made during Perestroika or the early 1990s. ![]()
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