In My Room is your first genre film – even if the genre isn’t all that easy to define.
My first thoughts on this project came about while reading, not watching films. Marlen Haushofer’s “The Wall,” Arno Schmidt’s “Schwarze Spiegel” (Black Mirror) or David Markson’s “Wittgenstein’s Mistress” are not easy to classify either. The absence of others allows them to view humans in isolation and free of social constraints. These are not dystopian texts. Schmidt’s protagonist is even quite happy about being alone.
At its core, “In My Room” is probably a castaway narrative. It involves childlike fantasies of a simple, self-sufficient life in nature.
The film’s title is the same as that of a bitter-sweet Beach Boys song...
“Now it’s dark and I’m alone, but I won’t be afraid, in my room...” To me, Armin is already a Crusoe: Even before humanity disappears, he has withdrawn, shut the door and is letting no one in. In the second part of the film, when he wants to open the door, it’s too late. Kirsi is similar to Armin at the start of the film; disappointed by bourgeois life, she has become a nomad. The two protagonists have taken paths leading in opposite directions.
An inversion of traditional gender roles?
Yes, she is restless, a hunter, and he is sedentary, a farmer who wants to start a family and create a new world. She doesn’t believe in the future and wants to experience something in the time that remains. Armin doesn’t take this seriously. She’s his Eve, and his dream must also be her dream. The two of them don’t succeed in reconciling their different views. Romantic love is a symbiotic concept and doesn’t prepare us particularly well for the compromises of everyday life.