The haunting interplay between realism and expressionism, using chiaroscuro like a language of its own—between on-screen and off-screen space. The theme of the ‘double’ has never been more compelling, with the shadow-puppeteer’s show mirroring the relationships between his guests.

There’s something in the dark fairy-tale atmosphere, steeped in snow and dread. The framing, the lighting, the unsettling beauty—a blend of surreal and the real within a toxic atmosphere really captured my imagination.

Delphine Seyrig’s elegance, her erotic vibes, and the vampire kiss really resonated with me—she embodies cinematic allure. The twilight hotel adrift in a desolate landscape, the deep nostalgia and loneliness… And for Kümel’s view on cinema: “One can mistreat the subjects as much as they want, but not the cinema.”

Torino becomes a character in itself—mysterious and terrifyingly beautiful with its empty streets and arcades. Its mix of fascist and gothic architecture, the empty and dilapidated palazzo was a big influence in creating our environment.

A woman unraveling—an actress lost to morphine and memory. The blend of realism and theatricality feels dreamlike. The film within a film, the enigmatic storytelling, and the striking nods to German Expressionism continue to intrigue me.

While not a conscious inspiration, the parallels withThe Ice Tower are undeniable—the accomplished actress, the adoring young admirer. I’ve watched it a few times and loved it. Maybe it crept in subconsciously, shaping things without me even realizing.