Sometimes, I Imagine Them All at a Party Was an Empfindsamkeit bleibt Focus © Bildersturm
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North American Premiere
Fourteen years ago, Daniela Magnani Hüller survived an attempted femicide by a schoolmate who had been harassing her. Now a filmmaker, she conducts an autobiographical investigation, revisiting the events leading up to, and surrounding, that fateful incident. With composed detachment, she interviews those who were involved in one way or another: a teacher, a schoolmate, a doctor, a detective, the state prosecutor. As she unearths recollections of this pivotal but distant event, larger questions of responsibility rise to the surface.
The feature debut of German-Brazilian Hüller, Sometimes, I Imagine Them All at a Party is a film of fragments — a dazzling collage of documentary footage, interviews, personal recollections, and archival material. Despite its autobiographical nature, the film navigates a range of tones and perspectives, alternating between bracing intimacy and clinical distance. Both a personal look into the past and an examination of systemic violence against women, this film marks the emergence of a singular new talent.
Supported by
Fourteen years ago, Daniela Magnani Hüller survived an attempted femicide by a schoolmate who had been harassing her. Now a filmmaker, she conducts an autobiographical investigation, revisiting the events leading up to, and surrounding, that fateful incident. With composed detachment, she interviews those who were involved in one way or another: a teacher, a schoolmate, a doctor, a detective, the state prosecutor. As she unearths recollections of this pivotal but distant event, larger questions of responsibility rise to the surface.
The feature debut of German-Brazilian Hüller, Sometimes, I Imagine Them All at a Party is a film of fragments — a dazzling collage of documentary footage, interviews, personal recollections, and archival material. Despite its autobiographical nature, the film navigates a range of tones and perspectives, alternating between bracing intimacy and clinical distance. Both a personal look into the past and an examination of systemic violence against women, this film marks the emergence of a singular new talent.
Supported by
