Draußen

The film portrays Matze, Elvis, Peter and Sergio as personalities and survival artists from whom one can learn. What they have experienced and survived, what they know about life and how resourcefully they organize themselves is something no one can easily imitate. To learn their stories, the filmmakers pursued a special strategy: they focused on the objects the protagonists carry with them. They asked them to open up their world for them and to allow them a glimpse into their plastic bags, pockets, shopping carts, as if they were entering a stranger's house. They led them with their stories into their inner world and into a world they left behind. The objects they discovered contained - precisely because they were few in number - a wealth of information and meaning. They were charged with emotions and memories. They are fragments and fragments of their life stories. In conversation, this abundance takes shape, they touch and are touched. But the film wants to do more than just observe and listen. The filmmakers were not only interested in making life stories visible. They wanted the protagonists to be seen in a different light for one night. Therefore, for the duration of one night, their sleeping places were transformed. The filmmakers started from the existing objects and their stories and created a new space. There, where their heroes seek shelter, at their campsite, individual compositions were created, like stage sets or showcases of a museum. What has been heard and seen so far is exaggerated and thus becomes vivid. An image of the inner world emerges. This opens up a poetic, experiential space for the viewers, which frees up space for individual confrontation with their protagonists. At the end of the film, the nightly illuminated sleeping places remain like mental images that will soon disappear again.