The actress Nina Hoss in an interview about the movie "Cicadas"

Nina Hoss, you've just returned from acting in a theater in New York, your jet lag almost over, and we're already talking about your German film "Zikaden": How do you manage this balancing act between the two worlds?

Well, we'll see. In any case, it remains exciting. Indeed, my mind doesn't keep up quite as quickly as I'd like. But the film "Cicadas" also accompanied me to New York to see Chekhov's "The Cherry Orchard." And of course, I want as many people as possible to know that this film exists.

You are one of the most renowned German actresses in theater and cinema: And you fear that your film will be overlooked?

Cinema isn't having an easy time right now. Six years ago, I shot the family drama "The Prelude" with my director, Ina Weisse. That film didn't find its audience until late – which was unfortunate for the production company, which was looking to embark on its next project and initially lacked box office revenue. I think many people aren't even aware of the great, small films playing in theaters these days...

...which could also be due to the fact that so many are pushing onto the screens at the same time and cannibalizing each other.

Yes, but with "Cicadas," I feel like the film is coming at exactly the right time, in June. Despite all the heavy themes, there's a summery feel to the story. There's an almost French lightness to it, with humor and wit, and a great affection for the characters. Yes, it's about caring for sick parents, the complicated process of raising a child, the question of whether or not to find the next job. But all of this remains embedded in this shimmering lightness.

Your character Isabell has to take care of her parents who live in the countryside: Do you base this topic on your own experiences?

It helps if you've experienced certain situations—if only because you can draw on that wealth of experience. I cared for my father and mother intensively at the end of their lives. So I know how overwhelming daily care can be, but you don't really feel it in those moments. You have no other option, and you want to be with your loved ones until the end. Ultimately, though, in a film, all personal experiences become fiction.

How far can parallels be drawn between life and film?

Back then, I spent endless hours in hospitals, experiencing all these processes from morning to night, always with the same nursing staff. Suddenly, there was an intense interaction with strangers that I would never have expected. My film character Isabell experiences the same thing.

Who does Isabell meet?

She meets the young mother Anja, who, unlike the architect's daughter Isabell, is struggling to survive financially and is hired by Isabell to help her parents. Without these extreme situations, the two would hardly have met. They might have exchanged glances, but never developed an interest in each other. The tension between the two is, for me, what makes "Cicadas" so fascinating.

Is Isabell's life slipping away in this challenging situation?

At least she's running after him. It's out of her control; she's reacting rather than acting. Isabell doesn't know what's going to happen at home in the next moment. She says herself: Something can't happen to her mother now, or she'll panic. The family situation is extremely fragile. And that's precisely why she finds support in her encounter with Anja. The two give each other strength, but they're not even aware of it.

What changes when parents die?

Isabell is faced with so many issues. She's suddenly questioning many things. Will she be able to get over not having a child in her troubled marriage? She's trying to put it all together again. She thinks she's lost, and yet she somehow manages to organize everything. In situations like these, you might not even realize how much strength you have within you. Perhaps Isabell will finally succeed in turning her life around.

Where does your character draw this strength from?

It feels like a pause. An era is coming to an end. Ever since you came into this world, you've operated within a certain framework. Now that framework is breaking down, and you're already in the process of building new structures. Perhaps you'll even decide to do something completely different again.

They seek support from each other: Nina Hoss as Isabell (l.) and Saskia Rosendahl as Anja in "Cicadas".

Source: Distributor

Does the relationship between parents and children eventually reverse? Or do children ultimately always remain in their role as children?

The pendulum swings back and forth. When it comes to organizing everyday life, Isabell inevitably takes the lead in the film. But there are certain things she can no longer resolve with her father, who can barely speak anymore. She has enormous respect for him. This respect has influenced her character, even her self-esteem. Up until this point, she has allowed her adoration for her father to influence all her decisions.

Do you know that sudden irrational impulse: I'm going to quickly call my parents, even if they've been dead for a long time, to tell them something?

I used to have that. Now it's more like I sometimes want to know what they think about this or that. A private conversation would be nice at a time like that. Unfortunately, I can't consult with either of them anymore.

Did “Cicadas” inspire you to think about growing old yourself?

Not really. I don't want to plan anything either, because life always comes around the corner with the next surprise anyway. I've truly learned that by now. But at the same time, that's precisely what makes it so wonderful. After all, positive surprises are possible. You just have to embrace them. There's nothing more you can do.

Do you feel like you are becoming more like your parents as you get older?

As for my appearance, I actually have my suspicions. Sometimes I'm surprised when I see my face in the mirror.

Cinema that deals with existential questions: Nina Hoss in the film "Barbara".

Source: Berlinale

Films like “Barbara,” “Return to Montauk,” “Little Sister,” and now “Cicadas”: Does acting help you deal with existential questions like life and death?

Absolutely! I think that's why I'm still so passionate about my job. Just like everyone else, I'll never understand what defines this time between birth and death. All these contradictions that bombard us in life. The social contexts that influence us, the social pressure... So what makes people who they are? And why do they act the way they do? Why does free will exist, and what does it do to us?

Does your work bring you closer to the answers?

Literature and art, culture in general, continually open up new perspectives. Especially in this day and age, culture can help us think less narrowly. For example, when I read the play "The Cherry Orchard," written a hundred years ago, in New York I was amazed at how relevant it is today. Humanity seems to be in a constant loop of repetition. There are always terrible setbacks, and sadly, many lose their lives. It's good to engage with such observations, to process and explore them artistically. I consider that a great gift.

If people keep making the same mistakes, how can things get better?

If I'm honest, I have absolute optimism for this planet, but not so much for the humanity that lives on it.

Does official policy still reach the population?

The hope is that everyone will now find common ground and support one another. So much is at stake. In New York, I just sensed how quickly the idea of ​​freedom can be lost. Suddenly, there's the feeling of no longer being free. We Germans, in particular, should know from our history how quickly this can happen, unless we're stupid: We all need to pull ourselves together now.

Do you have any recommendations on how we can learn to stand up for one another again in polarized times?

Yes, we must not lose our lightheartedness, our warmth and empathy. That's the most important thing. And that's where culture helps again: It brings us closer to other people's lives. We learn to see things through their eyes. We mustn't allow ourselves to be incited against one another. In the theater or at a film, the audience can exchange ideas and then realize: community is good! That's the only thing we can do to counter hate speech. We mustn't allow ourselves to be played off against one another. Culture opens our minds.

Do people with hate speech even come to the theater or the cinema?

The invitation has been extended. And perhaps art will find other ways to reach people. Subsidies can help, making it accessible to everyone.

Success factor "female gaze"

Are people in this country committed enough to their democracy?

I can only describe what I experienced in the US during my five weeks. Despite my just-expressed pessimism, large demonstrations are taking place in America. Democratic politicians like the very old Bernie Sanders and the very young Alexandria Ocasio-Cortez are filling venues together. The resistance is growing loudly. Perhaps it's just not being reported enough here. Perhaps we're not even aware of how strong the countermovement for democracy has grown since the initial shock.

How much optimism can you still muster?

I don't feel like enough isn't happening in society, whether in the US or here. The question is whether it's already too late in the US. Whether the noose has already tightened too far. We can't want that for Europe and Germany, to live in a police state again. All it produces is violence, oppression, and contempt for humanity. So it's so encouraging that there are people who, against all odds, speak out loudly for others. That's why I haven't completely given up on my optimism yet.