Discover Berlin’s Quirky Film: A Social Outcast, Spaghetti, and Matrix References!

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In the kitchen of Austrian writer-director Florian Pochlatko, he combined a socially isolated main character, a diverse group of supporting actors, an Ed Sheeran-esque figure, unconventional cinematography and editing techniques, blended it all together with a tribute to spaghetti westerns, seasoned it with quirky undertones, and baked up “How to Be Normal and the Oddness of the Other World” (Wie man normal ist und die Merkwürdigkeiten der anderen Welt). This was his debut feature film, making its world premiere in the Perspectives program of the 75th Berlin International Film Festival. The dish he served offers a unique blend of existential oddity and themes such as mental health, self-identity, and disorientation in the digital era.

Living an ordinary life can be quite a challenge, to put it mildly! Life, as well as people, can often feel downright tough, as I, Pia, portrayed by Luisa-Céline Gaffron in the movie “And Tomorrow the Entire World“, have discovered. After being released from a psychiatric hospital, I find myself feeling isolated and misunderstood not only by my ex Joni (Felix Pöchhacker) but also by my parents Elke Winkens and Cornelius Obonya. Navigating a new job at my father’s company, managing societal expectations, healing from heartbreak, battling social stigma, doubting myself, and juggling my medications are just a few of the challenges I face in this post-hospital life. My only true connections seem to be with Lenni, my young neighbor (Lion Thomas Tatzber), and then there’s Ned who bears an uncanny resemblance to Ed Sheeran (Wesley Joseph Byrne).

I find myself consistently intrigued by individuals who exhibit unconventional behavior, and it’s no different in my case. These peculiar characters have also appeared in my shorter films, as I shared with THR, because I’m strongly attracted to them.

He holds similar sentiments towards unconventional individuals outside of the screen. To bring eccentric Pia’s unique perspective of the world to life visually and audibly, he collaborated with fellow first-time narrative filmmakers Adrian Bidron, who managed the cinematography, and Rosa Anschütz, in charge of the score. Notably, Bidron is recognized for his work in Austria, particularly in photography, commercials, and music videos, some even featuring Eurovision winner Conchita Wurst. As Pochlatko explains, “I aimed to involve as many talented individuals as possible who might not typically get this opportunity. We worked closely together to find the visuals and feel for this film.

The outcome presents an unmistakably styled depiction of a world precariously balancing on the brink of disorder. As the director elaborates, “I aimed to create a highly unrealistic world, as it mirrors the sentiments people have towards today’s world.” Pochlatko further explains, “People are discussing the idea that we live in a simulated reality.” This concept, he adds, is deeply tied to internet culture and late-stage capitalism. On the internet, one encounters various viewpoints about what constitutes reality. Therefore, I chose to produce a film that feels like it was constructed or fabricated, where it’s uncertain whether this world is a dream or reality. The real world in this film appears as artificial and manufactured as dreams themselves.

As a gamer immersed in the digital realm, I can’t help but notice the resurgence of interest in the Matrix. In this modern age, it continues to challenge us with its thought-provoking question: what truly defines reality? And I find myself drawn into this discussion, especially in light of the post-factual era.

In simpler terms, Donald Trump grasped the essence that facts no longer hold the same weight they once did. The truth may not matter; instead, emotions are what hold significance.

Concerning authenticity: Pia encounters an individual, Ned, who bears a striking resemblance to Ed Sheeran. As Pochlatko shares with THR, “It’s Wes, the fellow portraying him, who works as a street cleaner in Greater Manchester.” This brief remark prompts me to ponder if I’ve somehow stepped into the world of The Matrix. “I discovered him due to online articles about mass confusion at English stadiums, where people believed they saw Ed Sheeran,” Pochlatko adds, explaining how this discovery fits perfectly with the film’s slightly surreal atmosphere.

Pochlatko explains that he intended for Ned, a musician, to impress Pia, whose previous partner was also a musician. He likens this to a scene from Ghostbusters where thinking negatively causes something unwanted to appear. Instead of a terrifying creature, Pochlatko chose the most innocuous character he could think of – Ed Sheeran, known for his charm and exceptional musical skills. In an unexpected twist, Ned later transforms into a character reminiscent of Matrix’s Morpheus from the book “How to Be Normal and the Oddness of the Other World.

In addition to this slightly unusual world, pasta also plays a unique role, as evidenced by Pochlatko’s deep-rooted love for films. However, when asked about an unforgettable cinematic moment, he identifies himself not just as a film enthusiast, but a film connoisseur – particularly in relation to a scene featuring Pia consuming spaghetti (as depicted in the main image of this article). You might wonder why? “Spaghetti is a common theme in films,” he explains, often showcased by directors he admires. One such director is German filmmaker Maren Ade, whose work, Toni Erdmann, features a character known as “Spaghetti.” This could be a nod to the iconic spaghetti meal scene in John Cassavetes’ A Woman Under the Influence. “These are my cinematic heroes,” Pochlatko emphasizes, “and I wanted to carry on the tradition of spaghetti in films. After all, there’s also that memorable scene in Harmony Korine’s Gummo where a child is eating spaghetti in a bathtub. So, if I were to make a film, it would inevitably involve spaghetti.

In the novel “How to Be Normal and the Oddness of the Other World“, Gaffron’s portrayal of the food scene was particularly impactful, contributing significantly to its memorable quality, as the filmmaker remembers. However, another spaghetti-themed scene that he filmed, where Pia’s mother affectionately calls her Spaghetti, didn’t make it into the final cut.

Filmmaker Pochlatko has several concepts he intends to materialize on screen in the days ahead. As he shares with The Hollywood Reporter, he is currently engaged in a project heavily inspired by art-house cinema, which unfolds in a location very familiar to his childhood years. This narrative delves into themes of religion, albeit indirectly. He is actively seeking financial backing for his upcoming full-length film titled “Cover Song: Tales From the Land Before Our Time“. This project revolves around three generations of a family dispersed across different lands. The story takes place in Austria and another location, focusing on a father who vanished a decade ago and has since begun a new life in the Caribbean, grappling with his past issues once more.

The Berlinale film he created generates a lot of discussion points. However, you might wonder how the title “How to Be Normal and the Oddness of the Other World” was chosen for this movie, which boasts an ensemble cast that includes well-known Austrian actors like Harald Krassnitzer, Oliver Rosskopf, and David Scheid. Pochlatko attributes his inspiration for the film to the COVID pandemic, blockbusters from Hollywood, and the late U.S. cult musician Daniel Johnston. When he began writing the script in 2020, he explains, it seemed fitting to call it “How to Be Normal.” He was hesitant about this title at first. However, after the release of Molly Manning Walker’s “How to Have Sex” and its success, his uncertainty dissipated.

To create an authentic quest movie atmosphere, he sought guidance from films like “Harry Potter and the Sorcerer’s Stone”. However, the concept of ‘another world’ originated from Daniel Johnston. In numerous interviews, Johnston often spoke about his personal battles against Satan and otherworldly forces. This ‘other world’ idea was highly inspiring to him, so a primary goal for this film was to produce a work that reflected the influence of Daniel Johnston.

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2025-02-16 11:55