Anna Nemes, a visual artist, has had her paintings exhibited in solo and collective exhibitions throughout Europe since 2010. “Beauty of the Beast,” her essay-documentary about female bodybuilding, is currently in post-production with a slated 2022 release. “Gentle” is her first fiction film.
“Gentle” will premiere at the 2022 Sundance Film Festival, which runs January 20-30. More information can be found on the fest’s website. “Gentle” is co-directed by Lászlò Csuja.
W&H: Describe the film for us in your own words.
AN: Monsters are artificial – that is their essence. Our movie features Edina, a female physiquebuilder. Her trainer created her. Then She, the Creation, meets her femininity, her emotional, deeper self – a part of herself she never had before. It wasn’t bodybuilding which made her a freak. Edina was dependent on others and blind to her own needs. She began to see the fragmented life she had lived with love. Had a chance to find real feelings, a real life – herself. Edina’s bold and artificial world turns out to magical, realist, dreamy when she meets her love.
W&H: What drew you to this story?
AN: I would argue that I was drawn to a phenomenon and not a story. I suffer from body dysmorphia, which means that I don’t feel or see my own body realistically. Since I was a little girl, I thought I was huge. My BMI is actually too low. I was originally a painter. To reflect on this issue, I created an aquarelle series featuring female bodybuilders ten years ago. I think I am Hulk; the bodybuilders don’t see that they actually are superhuman. In the end, we all share the same problem! I met some ladies and talked to them. I was interested in their lives. I was interested in their views on femininity and conservative ideas regarding female roles.
I had visions, little scenes in my head, and László [Csuja]My co-director, urged that I write a movie about the subject. While writing the script, I started an essay-documentary,”Beauty of The Beast,” which helped me find our main character for the feature and get more inspiration, while finding my own language in filmmaking. The more time I spent in this universe, the more I realized there was nothing special about female bodybuilders. They want to feel loved and appreciated, they want to express their feelings, and they are looking for self-fulfillment. They shape their bodies like a sculptor – it is their work, their art, just like this movie is ours.
W&H: What do you want people to think about after they watch the film?
AN: I want people to treat each other with respect. To change their appearance. To evaluate their current situation, whether they are in the right place and if they are doing what they want, and to make changes if necessary.
W&H: What was the biggest challenge in making the film?
AN: I was a painter, researcher, and have gotten used to working alone. If something goes wrong, then it’s all on me, I am not depending on anybody else. Although it was difficult for me to be around so many people, it ended up being quite easy. I learned to trust my colleagues’ abilities.
It is a continual process with painting. I have been doing it for many years now and I don’t think that I will ever stop. I have many paintings at once. [really no finishing them]. Making a movie takes a lot of work and takes a lot time. It is very difficult to finish a movie. It is hard to stay focused on one thing while still being connected to everyone else. Then it is over. It’s like coming home to the best camp you have ever been to.
W&H: How did you get your film funded? Please share your insights on how you got the film made.
AN. It is a low budget movie. We had the support of the Hungarian National Film Institute. After winning the Sam Spiegel Film Lab’s Grand Prize, we had KomplizenFilm, the co-producer of the film, on our side and they found us some money from ZDF/Arte. We tried to get additional support but we were in the middle of the pandemic and neither László nor I [are known]This would have attracted sponsors or producers. Our vision would have needed a lot more funding but with many sacrifices and support — we had a very good and experienced team — we did it in the end.
W&H: What inspired you to become a filmmaker?
AN: I have never been able do one thing. My parents wanted me as a musician. I was gifted and loved it, but I also enjoyed drawing and theater. I studied drama and painting in high school. I also attended philosophy competitions. I studied theater at the University of Fine Arts. I studied psychology, and then became an art therapist. Now I am preparing my DLA exhibit [Doctorate in Liberal Arts]Sundance and exam at the same moment. I plan to open a music production school by spring and write the script for my next movie.
What I am trying to say is that I don’t consider myself an art therapist, a researcher, painter, a filmmaker, a director, actress, or musician. I find it very important to be able to do all these things simultaneously – they’re all connected and complete each other. Philosophy is essential to keep my mind open and to understand people and dynamics. Music is necessary to feel the rhythm and to be more sensitive. I also need psychology and painting to create visually unique moving images such as films.
Filmmaking is not a storytelling medium. It is an art form that I can use all these tools together, and I love its complexity.
W&H: What’s the best and worst advice you’ve received?
AN: Don’t give up. It’s okay to let it go.
W&H: What advice do you have for other women directors?
AN: Don’t let guys treat you any differently. It could start with seemingly innocent behaviors, such as being polite or thoughtful, or calling you cute. It can lead to people not taking you seriously, especially when you are young.
I have never been concerned about gender. I care only for my work, and I want those around me do what I ask. The most important thing is that everybody does their job on the highest level – that is all I care about. I believe if we only focus on our job, regardless of any other circumstances, these issues — sexism, chauvinism — will disappear.
W&H: Name your favorite woman-directed film and why.
AN: Julia Ducournau’s “Titane.” This film doesn’t try to conceptualize while it deals with very obvious contemporary phenomena. It radiates through you – you can’t think, you can’t theorize, it just happens to you. It takes out your guts and pushes them through your throat. It is beautiful.
After watching the movie, I felt both excited and depressed. I was so impressed by the director’s freedom. She seemed to want to do something and did it without hesitation. That freedom and that power is something I adore.
But I also need to mention Ana Lily Amirpour’s “The Bad Batch,” Andrea Arnold’s “Fish Tank,” and Nanouk Leopold’s “Boven is het stil” (“It’s All So Quiet”).
W&H: How are you adjusting to life during the COVID-19 pandemic? Is it possible to keep your creativity alive?
AN: Fortunately, the pandemic didn’t really slow me down, but sometimes it can be a very annoying obstacle. I do my best work and am currently working on my next film.
W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What are your suggestions for making it more inclusive?
AN: I think it is time to forget about rules and traditions. Many times, I find that people do not think about these mechanisms. They follow the path on many levels: artistically, socially and so forth. Preconceptions can make it difficult to think clearly.
Think outside the box. Deal with our reality, how we see and experience this world. The world is full a variety of interesting and complex people. This would solve the problem. If we only focused on what is real around us, rather than what is being presented, it would solve the underrepresentation problem. [our preconceptions]We have been taught.
Source: Women And Hollywood