A NEW NORMAL is a stereoscopic essay film that examines the question how to go on when everything has changed. A young man wanders through deserted landscapes. A narrator recounts fragments of an everyday life following catastrophe. Stories start out as banal episodes but reveal various strategies to engage with a profound crisis of identity. The 3D images are both an artistic and a narrative choice: they serve as a window into his thoughts and attempts to develop a new sense of normalcy.
Luzie Loose was born 1989 in Rostock and grew up in Berlin. She studied communications at Universität der Künste in Berlin.
She shot experimental shorts, worked as an assistant director in theatre and worked for several prestigious German TV and film productions. Through her film work, she has been able to travely widely and work in cities such as Paris, Istanbul, Tokyo and Berlin.
In 2011 she began studying commercial and narrative directing at Filmakademie Baden-Württemberg. Spending a semester at the prestigious La Fémis in Paris on a scholarship, she realized the film Nouveau Monde. As part of the Atelier Ludwigsburg-Paris, she also directed a film that she presented at San Sebastian Film Festival.
Swimming (2017) was her first feature-length fiction film that she realized in cooperation with SWR, MFG film fund and kurhaus production. The film had its world premiere at the Busan International Film Festival and won gold at the Hofer Filmtage for best directing debut, with a laudatio by Edgar Reitz.
A New Normal is her first collaboration with the film maker Paul Sonntag. Luzie Loose lives and works as a director and scriptwriter in Berlin.
A NEW NORMAL
an essayistic short film in 3D
with Daniel Sträßer
DIRECTOR – Luzie Loose
BOOK – Paul Nungeßer
PRODUCTION – Ludwig Meck, Markus Krojer, Chantal Witzmann & Luzie Loose
PICTURE DESIGN – Paul Nungeßer
SOUND DESIGN – Jan Brett & Patrick Schäfer
SCENE PICTURE – Max Schönborn
COSTUME – Johanna Ballweg
MASK IMAGE – Sarah Heidelberger
STEREOSCOPY / 3D – Zsolt Magyari
and much more
Living through trauma may teach you resilience. It may help sustain you and others in times of crisis down the road. It may prompt humility. It may make for deeper seasons of joy. It may even make you stronger. It also may not. In the end, the hope of life after trauma is simply that you have life after trauma. Catherine Woodiwiss
A NEW NORMAL is a 3D essay film that deals with the subject of trauma in an associative manner. The film follows a young man, Feder, who leaves his apartment in an old skyscraper and wanders through deserted fields and meadows. There he meets the beast Katanka. From the off, a narrator reports on fragments and experiences from everyday post-traumatic life.
”3D is a delicate technology,” said Wim Wenders. A New Normal is a delicate film. Stereoscopy is the decisive stylistic device through which the film unfolds its full potential. She not only creates a picture, but an entire space in which the spring moves. It allows a look inside, as if looking straight into memory through a window. My personal feeling is contrary to what people believe a 3D movie ought to be, a technically advanced movie, which is spectacle or action. In this media, what you get most, an advantage, is an intimacy, the way you engage, the sympathy, with the character (…) I know it’s a tough sell, against convention.” Ang Lee