August Zirner

On the Search for and Loss of Faith

In the film „The Lost Man“, artist Hanne and retired pastor Bernd are in a stagnant marriage. One day, Kurt, Hanne's former husband, unexpectedly shows up at the door. Due to dementia, he can no longer remember that he and Hanne have been divorced for twenty years. Producer Peter Hartwig in conversation with actor August Zirner, who plays the pastor Bernd – a role he could never have imagined playing.

Mr. Zirner, in a talk show panel about this film, the question came up: „Is it even permissible to approach the topic of dementia with humor?“ And your answer was, „Yes, there is no morality there, only respect, empathy, and love. Everything is allowed if you do it out of love.“ That sounds as touching and right as much in this story. It is a film about a man with dementia who one day shows up at the door of his ex-wife, who, however, has a new partner. But isn't it first and foremost a love story?

So, Dagmar Manzel (Hanne), Harald Krassnitzer (Kurt), Welf Reinhart (director) and I quickly agreed, even before we started shooting. We had a joint table read and the four of us agreed that it's actually a love story, because it's about this strange triangle. There's this famous song by Crosby, Stills, Nash & Young: „I don’t really see, why can’t we go on as three”. But in real life, it usually fails.

You don't always think about a movie title right away, but after seeing this film, I find „The Lost Man“ all the more fitting. What is lost in the story told, based on the character of Kurt, who suffers from dementia? Hasn't he also lost his home?

The lost might also be a synonym for „failed.“ Actually, all three people in this story are the lost ones. The man who returns home after twenty years, who does not remember that the divorce happened a long time ago. The woman who wants to integrate her partner out of love and generously tries to open her heart and arms not only for him, but also for her new husband. And ultimately fails at it. So, in the end, all three of them are lost.

It is the debut film of director Welf Reinhart. How did this film actually come to you?

Welf attended one of my concerts in Munich, and afterwards he came up to me and said, „I'm preparing a relatively elaborate film, may I give you the screenplay for it?“ I read it, was pleasantly surprised, and at our next meeting I asked him, „How is it that someone as young as you comes to write about old people?“ Meaning not just about the topic of dementia, but also about the failure of love, about a love triangle. We talked, and within five minutes it was clear to me that I would definitely make this film with him.

Was there a scene in the book that you had great respect for, where you said, this is going to be difficult for me?

No, it was actually the whole thing, I was fascinated by the subject matter. Welf said something very nice, and that also distinguishes him as an aspiring director, even in the preparation phase: „It could be that Bernd loses a bit of his faith in the course of the film.“ That was a really very good directorial instruction, because that accompanied me throughout the entire film and allowed me to get into the role beforehand. And preparation is the all-important thing when acting in the theater or also in filmmaking. Through this search and the loss of faith, I realized: Bernd, the new man by Hanne's side, is losing love. He is losing his faith, he is losing something slowly but steadily. And having this as a dramaturgical guideline was a gift. So in that respect, I wasn't afraid or worried about the scenes, but rather the very demanding task of playing a Protestant pastor slowly losing his faith, who is a lover and husband at the same time and also wants to be a friend – I found that pretty exciting.

In the final scene of the film, Anne and Bernd are at an exhibition opening, but this time without Kurt. What would you say, how would the lives of the two continue from this moment on?

I believe the much more crucial thing is: What would the viewer say happens next? I find the ambivalence of this final shot clever. That was also a point of contention between Welf and me. We discussed this ending a lot beforehand, and that it ended this way, even I wouldn't have thought. I said to him, „There's still something missing!“ And in hindsight, I realized, that is exactly what I love, namely how it ends or how you really feel about the characters. The interesting thing about this is what questions remain with the viewer – and that is precisely what I find many times more exciting. So, I am not refusing an answer out of reluctance, but out of tactical calculation (laughs).

And I feel the same way, I mean this wonderful final moment where you think, what is actually going to happen to them now? You have your thoughts—and there really is nothing better than that.

Yes, I could have expressed desires as well, or said: „Wouldn't it be nice if it turned out this way or that!“ None of us really know, and we don't know in our own real lives, either. Suddenly, you're faced with a life-or-death question and you say: „Oh, I really wasn't expecting that question right now. How do things go on from here?“ I mean, that certainly happens to you 365 times over the course of a year. Once a day, at least. Or so I think.

What a wonderful concluding remark! Thank you very much, dear August Zirner, for this film and for the conversation.

Recorded by Ralf Hermersdorfer

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