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Director's Statement
A 14-year-old boy dies one night in a supermarket’s colourful world of merchandise. This disturbing image would haunt me long after opening a daily newspaper in 2009 and learning about a story that, for many weeks, was heatedly discussed in Austria.
Inspired by these events, ONE OF US narrates a complex cosmos of characters that inhabit the sterile aisles of product shelves and the giant cement-grey parking lot of a supermarket. All characters encounter the 14-year-old teenager Julian who, with curiosity and naïveté, seeks adventure in this rigidly organised consumerist world.
The supermarket itself is a quiet observer as well as a stoic protagonist from which any kind of human impulse ricochets. A classic anti-space, the supermarket might generate a vast array of desires, but won’t permit neither personal stories nor identities. As the silent witness of a tragic crime, the supermarket is victorious in a narrative from which all participants emerge as losers. With this uncanny presence, the supermarket becomes a metaphor for a global system of society that has stopped functioning long ago – it constantly faces the ultimate collapse. The giant worlds of shelves, filled with lurid and empty promises, shape the film’s central narrative perspective onto a story on identity, friendship, love, acknowledgement, and the boredom of the suburbs.
The adult characters therein mostly function as trusting servants of the system, keeping a late capitalist lie alive even though it never offers them fulfilment.
It’s this very fact that makes the story of the innocent boy – who succumbs to this system so senselessly – so unbelievably tragic. People are primarily consumers, and apparently only youths and their aimless-yet-stirring rebellion are the living.
ONE OF US should furthermore mirror a piece of Austrian zeitgeist, which one will primarily find in the rural cement deserts of the suburbs. Through this film, viewers will hopefully have an opportunity to see this strange world with new eyes.