LBB Film Club: DEMONS
Director Humbi Entress spends a substantial amount of his free time in the mountains - their effect on him is so profound that he even credits them as the reason he started making films 20 years ago. This comes as no surprise, as the power of nature has inspired plenty of artists in the past. However, the difference is that now, nature is undergoing unprecedented changes brought about by human action (or lack thereof).
Noticing these acute changes during his climb of Zermatt in 2022, Humbi and accompanying climber and cinematographer, Jan Mettler, knew, as they felt the hottest summer of the region rage on, that they needed to be expressed in film.
In comes Mès Lesne, choreographer and main character in ‘DEMONS’. In the film, haunted by a sense of futility, of being powerless to change the world around him, and the agony of knowing that the damage we’ve inflicted on our planet is beyond repair, Mès dances with the demons inside of him. Shot entirely on location, ‘DEMONS’ delves into the torment of human existence as the one culprit of a dying planet.
The battle dance rages on against the breathtaking backdrop of a glacier, silently melting away high in the Swiss Alps. The observer doubtless feels Mès’ pain of knowing that the world we’ve inherited is slipping away, already beyond our grasp. As the ‘book of life’ burns in his hand, he calls on us to roll back the damage we’ve done.
LBB’s Zoe Antonov speaks to Humbi about this profound piece of work and why he felt its absolute necessity in his art.
LBB> Tell me more about the idea behind the film and how you came to create it.
Humbi> In my free time, I spend a lot of time in the mountains. They are, so to speak, the reason why I started making films 20 years ago. Climate change has had an incredible impact on our Alps and glaciers, which are melting at an unprecedented rate. I have observed this very strongly over the past few years, and it deeply saddens me. When Jan Mettler (cinematographer) and I were in Zermatt in the fall of 2022 to shoot a documentary, we experienced the hottest summer ever recorded in the Alpine region firsthand. And we knew we had to do something about this issue. That's how we came up with the idea of making a dance film on this topic.
LBB> Break the plot down for us.
Humbi> At the beginning, there is heat - Mès Lesne [also the choreographer on the film] is exposed to the consequences of global warming. He is angry and wants to free himself from his demons, but they are too consuming. Later in the film, it becomes more playful and leads to a reconciliation that almost feels symbiotic - the demons seem to disappear, or rather, Mès seems to detach himself from them. Finally, Mès experiences a resurrection, the beginning of a new life. The timeline of the film is actually meant to be understood in reverse, which is why many scenes are played backwards, and various elements in the music, as well as the voices also run in reverse.
LBB> Was Mès Lesne considered for the main role, as well as the choreographer from the get-go or did he come on to the project later on?
Humbi> I had a pretty clear plan on how I wanted to tell the story. I also worked it out as a presentation and sent it to various choreographers. Mès responded immediately that he wanted to be part of it, and indeed, he was the perfect choice for me because his vulnerability, sensitivity, along with his expressive presence were exactly what I was looking for to do justice to the theme.
LBB> What was the process of casting the two ‘demons’ like and how did you pick the actresses that would play them in the end? What were you looking for?
Humbi> For me, it was important that we cast different characters for the demons, both ethnically and in terms of personality. They had to convey something sinister yet possess a sweet, reconciliatory demeanour. Mès has a vast network of dancers and went on a search, eventually finding Giordana Riberi and Mathilde Lin, who were the perfect fit.
LBB> Tell me about the process of creating the choreography with him and what were the creative pillars off which he worked?
Humbi> From the beginning, it was clear that the focus should be on the internal conflict, which fascinated us all. We didn't want to be preachy or didactic, but rather express this inner struggle. The two demons visualise how Mès wants to detach himself from them. The beginning of the story is hot - hence the movements here are angry and aggressive. As the film becomes colder, the dance becomes more reconciling and calm - the characters come closer together.
LBB> Talk to me about the music - who wrote it and what was its importance?
Humbi> My biggest concern was whether the music would be able to convey the emotions and sustain them over the four and a half minutes. It's almost like a music video - so the music plays a crucial role. Alexander Wolf David from Wolfsrudel composed it, and I actually had tears in my eyes when I listened to it for the first time. It beautifully conveys the raw power and yet delicate intimacy.
LBB> How about the whispers we hear throughout - what did they represent?
Humbi> They are snippets of words from the demons. They are the thoughts that Mès grapples with, the ones that haunt and influence him. It's a dialogue with excuses that we probably all face repeatedly when it comes to the question of sustainability. We all know that actions are needed, and yet, the personal urge often takes precedence over the altruistic goal of improving the world.
LBB> Tell me about the book at the start and the symbolism of it burning in Mès' hand.
Humbi> I wanted to start the film with a bang that shocks the audience and immediately captivates them. Burning a book has a strong historical background. It signifies ignoring knowledge and not wanting to pass it on or learn from it. And that's the point - we know what's happening right now, and yet, we ignore it and continue as if nothing is wrong. In the end, the book is empty, a blank paper, the book of life, a new start.
LBB> What was location scouting for the film like? How much of it was on set?
Humbi> Everything was shot on location.
As mentioned earlier, a part of the film was shot in Zermatt, right under the Matterhorn, the most iconic mountain in the world that is crumbling. The climate there was incredibly dry, resembling a stone desert. The second location was at the Rhone Glacier in another part of Switzerland. It was perfect for us because the glacier here is relatively easy to access.
LBB> Talk to me about the backdrop of the big pieces of textile tangled in the rocks - what were they meant to represent and how did you put it together?
Humbi> That's the incredible aspect of this location: the textile is there! They bear witness to a failed attempt to save the glaciers from melting. Hence, the text here: "Human existence can adapt!" What irony! For me, this was the perfect setting because it visually encapsulates the theme and is also a breathtaking and incredibly abstract backdrop.
LBB> And what is the significance of the floating scenes? How were they made in production?
Humbi> Here, we wanted to create a visually iconic image depicting Mès in resurrection. His spirit detaching and leaving the Earth, his body embedded in eternal ice. Of course, these shots were done in post-production, and we filmed them in front of a green screen at the mountain pass near the glacier, in a parking lot. For spectators, it must have seemed like a quite surreal situation.
LBB> What were the most challenging parts of executing the project? What about the most fun?
Humbi> It was definitely a significant challenge to shoot at this altitude, not only for the crew but especially for the dancers. They arrived from Paris the day before, and although acclimatisation was originally planned, we had to reschedule the shoot due to an approaching bad weather front. Consequently, the dancers came directly from Paris to 3,000 metres above sea level and had to perform an elaborate choreography. What an accomplishment!
Of course, we also faced technical issues. Our 35mm camera, for example, broke on the first day of shooting, and we had to get a new one sent from Munich. So, someone had to drive overnight across the Alps to bring the camera body to the glacier the next morning.
Moreover, for me, the decision to shoot on analog film was a very satisfying one. When shooting digitally, I have a monitor where I can assess at any time what the camera is doing and how the image looks. However, in this case, the monitor was black, and I had to observe and judge what was happening with my eyes - this made me feel much closer to the protagonists.
LBB> What are the messages you hope audiences take away from the film?
Humbi> I hope the film touches the audience by allowing them to identify with Mès' internal struggle. Our existence on Earth is finite, and we play a significant part in determining how we want to leave the Earth.
