The horror film Luz begins as a young female cabdriver (Luana Velis, in the title role) drags herself into a run-down police station. However, a demonic entity follows her there, determined to finally be close to the woman it loves.
Shooting entirely on 16mm, first time feature film director Tilman Singer pays homage to horror masters David Cronenberg, Dario Argento and Lucio Fulci, while infusing the genre with a fresh take of his own.
Here’s what the director of the film has to say: “Luz is a story about identity, a lack of one, or maybe even denying one’s own. For the most part this is told by forces (archetypal characters, institutions, or personifications of moral arguments) influencing and manipulating our titular character Luz. I structured the narrative as a panic attack, of repressed memories and confusion. It is purposely open to interpretation by the viewer.
Luz is a sensuous thriller that plays with the sensory perception of the audience. Initially, I wanted to write a simple story that could only be told audio-visually. How we ended up telling it cinematically, nested within diegetic flashbacks, got a little more complicated. For example, we use an additional layer of sound that adds a past reality to a present one. Given that we are observing a moment relived under hypnosis, the credibility of both realities is questioned at all times. The viewer who attempts to answer this question of credibility has to, with sharpened senses, fully engage in image and sound.
Luz is my first feature film and at the same time the project for my diploma at the Kunsthochschule für Medien Köln/Academy of Media Arts Cologne. Dario Méndez Acosta (production design), Paul Faltz (DOP), Simon Waskow (original music) and Henning Hein (sound design, mixing) worked with me on LUZ and have been involved in each of my recent films.”