The melancholic girl feels like a tourist in her own life. In search of love and a place to spend the night, she drifts through beds, spas and yoga studios, meeting men for flings and conversation. This whimsical, pastel-colored film, in the spirit of early Godard, takes an ironic look at problems facing the first world and the concerns of the girls—somewhat antisocial, often bored, definitely sad—who live there. In young German writer Susanne Heinrich’s film debut, an existential emptiness lurks behind a pastel façade, brocade unicorns and theatrical monologues. The sadness of being an object, a commodity in a neoliberal society, which can’t be overcome by lovers, art or yoga. Though the melancholy girl is constantly talking, her own echo is the only thing listening. Although she is constantly meeting new people, she is unable to establish a relationship. She is the archetype of the modern girl, says the director, not a figure of flesh and blood, but each and every one of us.
German filmmaker Susanne Heinrich was an author of books between the ages of 19 and 25. She was nominated for the Ingeborg Bachmann Prize as well as receiving fellowships at Villa Aurora L.A. and Casa Baldi Olevano Romano (Villa Massimo). She sings in several bands and has pursued a variety of artistic projects.
2019 Melancholijna dziewczyna / Das Melancholische Mädchen / The Melancholic Girl