2024-09-06 09:22:27
Daniel Hostel and Julia Nyman do something almost dated in their films: they raise issues of class. Her work is not about issues of identity, but simply of class – as is the case in the new biting satire Veni Vidi Vici. This time, the director duo talked to APA about the lack of resistance among 99% of people, the charm of the top class, and why “killing the rich” is not so easy to implement.
APA: Your protagonist in Veni Vidi Vici gets away with everything he does. Why didn’t anyone stop him?
Daniel Hostel: The main character Amon in Veni Vidi Vici has learned nothing – just like in reality. One can get away with the most impossible things without having to learn anything. Satire is an exaggeration of reality, and at this point we cannot shake this basic tendency. We want our audience to be angry at the right people: the people who can get away with anything. We have no solution for this situation. Hopefully this will cause discomfort. Maybe there will be an uprising at some point.
APA: Why hasn’t this uprising occurred in society yet?
Hoesl: I’m disappointed in all of us. Why would you rather stay in the Valley of Tears and not take action? Anger builds in the wrong direction: against those who are already worse off. There will be enough money – it’s only concentrated in a small group of people. In education, it’s about justice and equal opportunity. Categories must become permeable again.
Julia Nyman: It’s hard to criticize “those people above,” because the truth is that most people want to be “those people above.”
APA: At the same time, Veni Vidi Vici has more of a sense of humor than your previous films. Conscious behavior?
Hoesl: We hope to appeal to a wider audience as a lesson from our previous films. We have found that, so far, our work has only reached those who already know its content. This time we made a film that we hope will make its statement known to more people.
Niemann: We set out to create a Trojan horse, so to speak: a funny movie, but one whose message lingers in your mind long after the movie ends.
APA: What lessons did you learn from your previous films in this regard?
Niemann: At the time, we weren’t trying to appeal to a broad audience at all, but essentially we were trying to stay true to our ideals. Now we want to stay true to our signature but still reach the audience on a deeper level. “Veni Vidi Vici” is full of thriller and even horror elements. We had a voiceover for a character holding people’s hands. We also tried to use film music to support the satirical aspect. We’re impressed by movies like “Joker,” which on the one hand is a movie for the masses, but on the other hand still has a political message.
APA: Sundance world premiere is a good start…
Nyman: We wanted Veni Vidi Vici to be shown at Sundance from the beginning. And when this wish comes true, it’s like winning the lottery!
Hoesl: Through the Sundance Film Festival, you will reach a larger international audience. Veni Vidi Vici was particularly popular with Anglo-Saxon audiences.
Appa: Why?
Niemann: There’s always this investor character in Daniel’s movies: the super-rich guy who always tells the truth, even if he lies, he can do no wrong, and he turns everything he touches into gold. The image of the billionaire superstar as projection, role model, and object of envy is more common among Anglo-Saxons. We always have the best audience discussions after the movie where the rich people live.
APA: You are one of the few current filmmakers who not only raise social or identity issues in your work, but actually address issues of class. Do you sometimes feel like a lonely voice in the desert?
Hoesl: Since we were both working-class kids, this theme stayed with us. But we’re not making fun of the super rich, we’re making fun of ourselves, and 99% of people don’t take matters into their own hands. We take billionaires seriously. It’s about irritating people, making them angry, and channeling that anger in the right direction. If we all stand up and say the tax laws need to change, then they will change. If the EU declares the end of tax havens, they are doomed.
Niemann: In “Saltburn,” for example, the poor protagonist kills off the wealthy family. This may be interesting, but it’s not realistic. We call our work surrealism rather than satire because we try to exaggerate reality slightly. That’s why it makes no sense to imagine that the motto “Kill the rich” is easy to implement. Quite the opposite: “The rich are killing us.”
APA: At the same time, you don’t describe your super-rich in a one-dimensional way. In fact, they are for the most part likeable and neither homophobic nor racist. They are classic…
Niemann: We don’t want that because it’s realistic. Over the course of many years of research for our documentary “Davos,” we got to know a lot of the super-rich, many of whom are well-read, multilingual, have families, and have good hearts. And the surface of the beautiful world, of course, also fascinates us. These people are all sweet and likeable and don’t need to be homophobic or racist. It is easy for these people to combine criticism of their own class with not changing their way of life. They live a good life – you don’t have to be a strict villain.
Hoesl: Of course there are some who are still villains. But you’ll never notice it. That’s what’s behind the appearance.
(Interview conducted by Martin Fichter-Wöß/APA)
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The Uncomfortable Truth: Daniel Hoesl and Julia Niemann’s Scathing Satire on Class
In an era where identity politics dominates the cinematic landscape, few filmmakers dare to tackle the thorny issue of class. But not Daniel Hoesl and Julia Niemann. Their latest film, “Veni Vidi Vici,” is a biting satire that pulls no punches in its critique of the top 1% and the lack of resistance from the 99%. The director duo spoke to APA about their film, the allure of the elite, and why “killing the rich” is not a simple solution.
The Age of Impunity
In “Veni Vidi Vici,” the protagonist, Amon, gets away with everything he does, much to the frustration of the audience. Hoesl explains, “The main character has learned nothing – just like in reality. One can get away with the most impossible things without having to learn anything.” This satire is an exaggeration of reality, but one that is uncomfortably close to the truth. The duo hopes to inspire discomfort and, ultimately, an uprising against the privileged few.
Why the 99% Remain Silent
So, why haven’t the masses risen up against the elite? Hoesl is disappointed in the lack of action, attributing it to misplaced anger: “Anger builds in the wrong direction: against those who are already worse off.” Niemann adds, “It’s hard to criticize ‘those people above,’ because the truth is that most people want to be ‘those people above.'” The concentration of wealth in a small group of people has created a sense of injustice, but also a sense of aspirational desire.
A Trojan Horse of a Film
To reach a wider audience, Hoesl and Niemann adopted a different approach with “Veni Vidi Vici.” They aimed to create a humorous, thriller-horror mashup that would appeal to a broader crowd while still conveying their message. Niemann describes it as a “Trojan horse” – a film that is funny on the surface but lingers in the mind long after the credits roll.
Learning from Past Films
The duo reflects on their previous films, acknowledging that they may have been too niche in their appeal. Niemann notes, “We weren’t trying to appeal to a broad audience at all, but essentially we were trying to stay true to our ideals.” With “Veni Vidi Vici,” they sought to balance their signature style with a more mainstream appeal, drawing inspiration from films like “Joker,” which successfully merged entertainment with social commentary.
A Sundance Premiere
The film premiered at Sundance, a milestone for the duo. Niemann calls it “like winning the lottery!” Hoesl adds that the festival provides a platform to reach a larger international audience, particularly Anglo-Saxon viewers who resonated with the film’s themes.
Class, Not Identity
Hoesl and Niemann are rare in their focus on class issues, rather than identity politics. Niemann notes, “We take billionaires seriously. It’s about irritating people, making them angry, and channeling that anger in the right direction.” Hoesl emphasizes, “We’re not making fun of the super-rich, we’re making fun of ourselves, and 99% of people don’t take matters into their own hands.”
The Allure of the Elite
In “Veni Vidi Vici,” the super-rich are portrayed as likable, well-read, and cultured – a far cry from the stereotypical racist, homophobic caricatures often seen on screen. Niemann explains, “We don’t want that because it’s realistic. Over the course of many years of research for our documentary ‘Davos,’ we got to
