{"id":5046,"date":"2026-08-07T07:07:03","date_gmt":"2026-08-07T07:07:03","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=5046"},"modified":"2026-08-07T07:07:03","modified_gmt":"2026-08-07T07:07:03","slug":"meet-nicolaas-schmidt-the-german-filmmaker-who-thinks-plain-banality-is-stimulating-as-f","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=5046","title":{"rendered":"Meet Nicolaas Schmidt, the German Filmmaker Who Thinks \u201cPlain Banality Is Stimulating as F***\u201d"},"content":{"rendered":"
\n<\/p>\n
\n

\n\tWhen the\u00a0Locarno Film Festival unveiled the program for its\u00a079th edition, it promised an \u201cadventurous\u201d lineup. <\/p>\n

Read more \u2018Brady vs. Manning\u2019: Documentary Film in the Works About NFL Rivalry (Exclusive)<\/a><\/p>\n

\n\tGerman filmmaker Nicolaas Schmidt\u2019s debut feature film,\u00a0September Afternoon<\/em>, which will world premiere on Aug. 10 in the Filmmakers of the Present Competition of the Swiss festival, is perhaps the perfect case in point.<\/p>\n

\n\t\u201cIf you don\u2019t know anything about what\u2019s to come, you are probably at risk of leaving the room,\u201d Locarno\u2019s artistic director Giona A. Nazzaro tells THR<\/em>. \u201cI\u2019m aware of that, but if you stick with it, you will be completely surprised\u201d and\u00a0enjoy\u00a0a\u00a0cinematic\u00a0journey\u00a0you\u00a0won\u2019t\u00a0forget\u00a0any\u00a0time\u00a0soon.\u00a0<\/p>\n

\n\tWhat he means is that, just like in Schmidt\u2019s short- and medium-length films, there isn\u2019t much traditional \u201caction\u201d or even dialogue in September Afternoon<\/em>. \u201cThe film uses \u2018dead time\u2019 as raw material,\u201d the filmmaker highlights\u00a0in a director\u2019s note. \u201cI stretch mundane moments until they collapse in their emptiness \u2014 an invitation to the viewer. In an age of arbitrary extraordinariness, plain banality is stimulating as fuck.\u201d<\/p>\n

\n\tSchmidt, who was born in Leipzig and lives and works in Hamburg as a filmmaker, video and conceptual artist, tells THR<\/em> that he is most interested in images, sounds, music and moods, putting a spotlight on the passage of time in everyday situations, repetition and silences. <\/p>\n

\n\tOr, as Nazzaro\u00a0offers: \u201cMaybe the trivialities we see are exactly the things that we might be sorely missing in the future,\u201d says Nazzaro, \u201cbecause we will not have the time to get bored and tend to trivial matters. So for me, [Schmidt\u2019s work] also brings with it a very political element \u2013 how to regain agency over the use of your time.\u201d<\/p>\n

\n\tBut\u00a0wait,\u00a0what\u00a0can\u00a0we\u00a0share\u00a0about\u00a0September\u00a0Afternoon<\/em>\u00a0without\u00a0spoiling\u00a0too\u00a0much? Well, the film\u00a0shows\u00a0a\u00a0couple\u00a0that\u00a0refuses\u00a0to\u00a0accept\u00a0that\u00a0summer\u00a0is\u00a0over;\u00a0instead\u00a0\u200b, the small\u00a0family is\u00a0\u200bheading\u00a0to the\u00a0coast\u00a0for\u00a0\u200ba\u200b\u200b\u00a0last\u00a0experience\u00a0with\u00a0sand\u00a0and\u00a0seawater. But\u00a0they\u00a0find\u00a0themselves\u00a0struggling\u00a0with\u00a0strong wind and the\u00a0encroaching\u00a0elements. With\u00a0romantic\u00a0expectations\u00a0of the\u00a0summer\u00a0flipped\u00a0on\u00a0their\u00a0head, Locarno\u00a0teases\u00a0that\u00a0things\u00a0unravel\u00a0from\u00a0there\u00a0\u201cinto\u00a0a\u00a0disaster of a different magnitude,\u201d underlining the filmmaker\u2019s invitation to observe and be surprised.<\/p>\n

\n\tProduced by Maxi Haslberger and Balthasar Busmann,\u00a0September Afternoon<\/em>\u00a0features cinematography by Thomas Oswald. Schmidt directed and edited the movie based on his screenplay. The cast features Amin Motallebzadeh, Katharina Grossmann, Hedi Grossmann and Ada Kurzh\u00f6fer.\u00a0Kino Rebelde\u00a0is handling\u00a0international\u00a0sales.<\/p>\n

\nSeptember Afternoon<\/em> is the second Schmidt film traveling to Locarno. His\u00a0First Time [The Time for All but Sunset \u2014 Violet]<\/em>\u00a0premiered at the Swiss festival in 2021 and received a Pardi di Domani special mention.<\/p>\n

\n\tOn his website, the filmmaker describes himself as a \u201cgr\u00e9yalisateur,\u201d \u200bemphasizing grey as a midpoint, average \u2013 or rather, relativity and ambivalence \u2013 \u200band the French word for director, \u201cr\u00e9alisateur,\u201d or someone who brings a film to life. He also calls himself a \u201cdozing artist (concept, photo, video).\u201d And his bio on the website highlights: \u201cHe started dreaming at the age of four after visiting the movie theater in his socialist small town south of Leipzig for the very first time\u201d before the GDR and West Germany reunited.<\/p>\n

Read more Eli Roth Talks the Unrated Gamble of \u2018Ice Cream Man\u2019 and What He Hopes the Town Learns From \u2018Obsession\u2019<\/a><\/p>\n

\n\tAsked about the inspiration for his films, Schmidt tells THR<\/em>: \u201cIt\u2019s all based on \u200bexperiences, \u200bobservations or interpretations of observations.\u201d In the case of September Afternoon<\/em>, he recalls: \u201cI experienced a similar situation that was as unrelaxed as can be. And I was \u200bsadly disappointed\u200b that I didn\u2019t film or didn\u2019t have a friend with a hand camera there to film.\u201d<\/p>\n

\n\tDoes he have a detailed plan or script? \u201cI think in detail about what \u200bexactly \u200bhappens and what is said despite starting the process with wanting to leave things as open as possible,\u201d including for the actors,\u201d he says. \u201cBut sometimes things get too \u200bconcrete\u200b and go beyond what really interests me, and then I pare back.\u201d<\/p>\n

\n\tThe process of filming September Afternoon<\/em> came with some surprises. \u201cWhen we shot the film, it was late September and really stormy, which made things much harder than expected,\u201d Schmidt explains. \u201cI had originally planned to make the wind seem stronger than it was. \u200bBut my experience so far has shown that it\u2019s good for the films when some things turn out differently than anticipated. While that stresses me out immensely, getting through it together with others does me a world of good and provides me with longer-lasting stability.\u201d<\/p>\n

\n\tMusic plays a key role in Schmidt\u2019s films, even though he says he couldn\u2019t compose any himself, and so do commercials. \u201c\u200bIn the \u201990s, there were commercials that were extremely elaborate and visually captivating, almost poetic, yet emotionally manipulative \u2013 that fascinated me, he\u00a0shares. \u201cI had an interest in them. And I think these are spots people recognize. In the case of September Afternoon<\/em>, the commercial came late in the process. It is an element that adds ambiguity.\u201d<\/p>\n

\n\tSchmidt has also referenced other movies in his films, with his latest including a scene from Philippe Garrel\u2019s Le R\u00e9v\u00e9lateur<\/em>. How do these cinematic \u201cquotes\u201d find their way into his works? \u201cI find these in the very long development processes,\u201d he tells THR<\/em>. \u201cI bring together a bigger collection of ideas, thoughts and associations, saved in a wide chaotic note, and bring them into question and a rating and priority structure at some later point, at the latest when I name that work. When a feeling for the film arises then, it\u2019s also less sober and dry than it sounds now.\u201d<\/p>\n

\n\t\u200b\u200bLate in September Afternoon<\/em>, there is a scene using light in a specific way, and Schmidt made sure not to simply copy \u200bthe very specific solutions of \u200bother directors\u200b \u201cfor no reason\u200b\u200b\u200b.\u201d He highlights: \u201cI don\u2019t want to repeat \u200bevery\u200b\u200b\u200bthing.\u201d \u200bThe effect used in the end was \u201ccommon enough and, in all its simplicity, also effective enough,\u201d the filmmaker explains.<\/p>\n

\n\tSome may say not much happens over long passages of Schmidt\u2019s films, but the creative doesn\u2019t believe that movies need \u201caction.\u201d \u201cThat\u2019s not my thing at all. That provokes me to the max,\u201d he tells THR<\/em>. \u201cBut it is a core problem that you must convince people that \u200bless, or \u200bnothing, happening can be\u200b okay or even \u200b\u200b \u200bfascinating and also that you don\u2019t need dialogue.\u201d<\/p>\n

\n\tThe same goes for uniform tastes and approaches. \u201cI find it hard to handle uniformity,\u201d Schmidt says. \u201cIt \u200b\u200bunsettles\u200b\u200b and \u200bfrightens\u200b me if people subject themselves to \u200btrends, fashions and \u200bthe whims of the masses,\u200b or individuals\u200b. I understand that this view also excludes things, but I \u200bjust don\u2019t like any adaptation without questioning and a valid reason.\u201d<\/p>\n

\n\tThat said, he doesn\u2019t make films simply to provoke audiences, but out of curiosity and also to potentially discover a community of people outside the mainstream. \u201c\u200bFor me, it\u2019s a pretty reliable opportunity to find like-minded\u00a0people,\u201d Schmidt\u00a0says. \u201cAnd I appreciate it when people come up to me and give me the feeling that I am a bit normal.\u201d<\/p>\n

Read more Morgan Freeman Will \u201cOverlook Some of the Glitches\u201d in a Script If They \u201cPay You Enough\u201d<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

In a Locarno 2026 interview, 'September Afternoon' film director Nicolaas Schmidt explains using dead time, why he works without action or dialogue.<\/p>\n","protected":false},"author":1,"featured_media":5045,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[2,904,905],"class_list":["post-5046","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-international","tag-locarno-2026","tag-locarno-film-festival"],"yoast_head":"\nMeet Nicolaas Schmidt, the German Filmmaker Who Thinks \u201cPlain Banality Is Stimulating as F***\u201d - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=5046\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Meet Nicolaas Schmidt, the German Filmmaker Who Thinks \u201cPlain Banality Is Stimulating as F***\u201d - 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