Sarah Miro Fischer on How Her Debut ‘The Good Sister,’ Competing in Berlin’s Panorama, Examines the Far-Reaching ‘Consequences’ of Assault

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Sarah Miro Fischer‘s first feature film, titled “The Good Sister,” is set to premiere in the Panorama section at this year’s Berlinale. Exclusively, EbMaster has been granted permission to preview the movie’s trailer. Additionally, we had a chance to interview the fresh director who shared insights about the evolution and creation of her primarily student-driven production.

In Berlin, the story revolves around Rose, a young woman who grapples with a difficult decision when she’s asked to testify against her brother, Sam, in a rape case. Titled “The Good Sister,” this film is jointly written by Fischer and Agnes Maagaard Petersen, offering an intense portrayal of the profound emotional turmoil the trial inflicts on the family as it unfolds.

Could you share your experience collaborating on the script for this movie alongside Agnes Maagaard Petersen? How did you decide on the division of tasks between the two of you?

Since this wasn’t our first collaboration, there was an abundance of trust and respect from the get-go. The journey was truly enchanting. My initial thought was, “What if your sibling was falsely accused of assault?” This question served as our starting point. When Agnes joined in, it was fantastic to have a dialogue between two minds exchanging ideas. This dynamic accelerated the process significantly because we could respond instantly. We spent a considerable amount of time refining the treatment, and when we wrote our initial drafts concurrently, they bore striking similarities due to the extensive development of the treatment. During production, Agnes also paid a visit to the set, and we kept in touch regularly throughout the process. The experience of working with her was equally captivating.

Could you share some insights on your journey, transitioning from creating short films as a student to now working on a complete 90-minute feature film that has been recognized in the competition of one of Europe’s major film festivals?

User: Throughout the process, my main motivation was sheer curiosity. I found delight in navigating every phase of the project, as each stage unfolded more intricately on a larger scale. I collaborated closely with Marie Bloching, the project’s lead, and after roughly two weeks, we established an unspoken understanding. Developing such lasting connections within a project was truly fulfilling. Naturally, there were obstacles to overcome, as the structure of a short film differs significantly from that of a feature film.

How does this movie portray the aftermath of mistreatment? What sparked your decision to approach the narrative from this particular angle?

I find it intriguing to examine the impact of such an action on those connected to both the victim and the offender. This is a situation many of us can relate to from various perspectives, when we’re not directly involved in a conflict but are still affected by it. The effect is real, and you must figure out how to handle the situation. It becomes even more complex when the person is very close to you. It’s not something you can just ignore or go back to your normal life after watching it on TV. Instead, it has a tangible impact, and I haven’t seen this aspect explored as much in movies or stories before.

I believe it’s crucial that you showed the brother character as a person who could commit such a horrific deed, rather than presenting him as a monstrous figure.

Fischer believes it was crucial that the character wasn’t necessarily likable but portrayed as a human doing human things. Initially, we attempted to convey this by depicting him as someone who provides comfort to his younger sister, serving as her sanctuary where she could seek solace at night, much like a small cat curled up at the foot of his bed. However, as the story unfolds, the safety he offers becomes questionable, causing a shift in Rose’s perception of him and his actions. Rose yearns for him to be a good brother, and she clings to the image of him from the start of the film. This ambivalence makes it difficult for her to determine the right course of action.

Would you be able to share insights on the evolution of the dynamic between your main characters, from the early stages of filming until the final product?

Prior to filming, we spent approximately two weeks preparing with rehearsals. We spontaneously created and acted out scenes between the siblings that didn’t directly relate to the script or movie, serving to establish a background or dynamic. Each family has its own unique dynamics, and we needed to develop these for the characters portrayed by the two actors. During filming, they were both receptive to this rehearsal approach, which helped us build stronger relationships as a team. As production progressed, the atmosphere on set became increasingly tense because we mainly shot scenes in sequence. This sequential shooting method created a sense of emotional distance between the characters that also influenced the mood on set. At first, the crew was cheerful and almost playful. However, as filming continued, things grew more somber on set as everyone became deeply immersed in the serious narrative. It was fascinating to witness this process unfold.

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2025-02-10 19:48