Made as an elegy to her own parents, Pola Rader’s And Died Together One Day boasts a unique and compelling aesthetic. Set within Murmansk, beyond the Arctic Circle, it makes full use of its wintry, snow-covered location to create a touching reverie on the ties that bond loving couples. I was impressed by the different use of whites throughout the film, subtly layered on top of each other to set the scene for a variety of Kaurismäki-esque tableaus, including guitar playing, winter dipping and visiting a sculpture garden. Eschewing a traditional narrative in favour of visual innovation, this is a touching experimental yet accessible tome to love’s perseverance, even in bitterly cold Northern European weather. Ahead of today’s online premiere, DN sat down with Rader to talk about how And Died Together One Day functions as a form of art therapy for her, blending arthouse ideas with documentary techniques and cleverly utilising imagery lifted from Russian folk tales.
You write in the notes that this film is inspired by your parents! I would love for you to touch more on that.
Indeed, this film is a form of art therapy for me; aiming to depict a relationship that deviates from conventional love myths, embracing imperfections. In my creative work, I challenge societal stereotypes, often revealing their intricate nature, which can subtly affect our perspectives. The idea that relationships must be perfect, wounds and betrayals are unforgivable, and rekindling a connection after separation is impossible – these are all fragile beliefs.
My parents went through various relationship phases: unconditional love, heartache, divorce, conscious coexistence and renewed romance. These are all normal experiences for two individuals. Essentially, this film was a significant experiment where my parents played the main roles. We had discussions to uncover what romance meant to them personally, exploring objects in their daily lives with deep symbolic significance to their relationship, and delving into the emotions they felt during their separation and reunion.
The snowy landscape and silence in the film create a kind of vacuum in which the ‘romance’ of two individuals unfolds.
The location for this movie is perfectly snow-covered and whited-out, creating this dreamy aesthetic. What was it like not only finding the perfect area to film in but also finding the right locations?
The aesthetics of the location were truly important to me. Although the location formally pertains to the film’s protagonists since it’s their city, I was concerned with capturing a certain season and, consequently, the unique atmosphere of the city during that time. The snowy landscape and silence in the film create a kind of vacuum in which the ‘romance’ of two individuals unfolds.
Murmansk, a city beyond the Arctic Circle in the north of Russia, is, in a way, a world of its own, a self-contained cosmos, far removed from other major cities, bordering Scandinavia. The city possesses its own modest character, and I believe this is palpable through some documentary scenes captured in the film. Overall, it’s the most fitting motif for the film’s narrative.
Walk me through using the right technical equipment to capture the different hues of light colours, and making sure there was contrast throughout.
I handled the technical aspects of capturing various hues of light and ensuring contrast, working independently without assistance. I opted for Prime lenses with wide apertures to allow more light in. This helped in capturing subtle colour variations and maintaining contrast. I frequently used custom white balance to ensure that whites appeared pure, and other colours were accurately represented.
While shooting alone, I utilised available natural light and reflectors to add fill light and create contrast in the scenes. When necessary, I employed artificial lighting, carefully balancing it to maintain the natural feel of the snowy setting. In post-production, we meticulously performed colour correction and grading to enhance colour nuances and maintain consistent contrast, vital for achieving the desired visual tone. My approach prioritised technical precision and a profound understanding of the film’s aesthetic demands.
We meticulously performed colour correction and grading to enhance colour nuances and maintain consistent contrast.
There’s a certain blend of exaggerated romanticised moments and more documentary-like footage. Can you tell me about how you approached the aesthetic of the movie and what it was like blending these two approaches?
In this film, I delved into the idea of romantic relationships and how we perceive them. I aimed to craft a cinematic style that balanced the rawness of documentary filmmaking with the gentleness of staged scenes. These staged scenes were seamlessly woven into the documentary backdrop, shot in the characters’ actual apartment using their personal items. My task was to organically blend scripted scenes with documentary footage of the city, guided by a surrealistic aesthetic and subtle visual poetry.
I’d also love to know how you approached the story in terms of the edit. As it is not a traditional history of a relationship, but as you say, a “visual manifesto”, what were you looking to do differently?
I aimed to create an accessible film that skilfully blended documentary realism with cinematic storytelling, sometimes merging genres seamlessly and at other times contrasting them. Like a cinematic manifesto, the film presented a series of visual statements. In a literary analogy, I edited it in a futuristic style, where the documentary scenes served as punctuation marks – periods, ellipses, spaces. These scenes featured original sound without music, reinforcing the visual manifesto concept.
I aimed to craft a cinematic style that balanced the rawness of documentary filmmaking with the gentleness of staged scenes.
The music is a mix between Muzak you might expect in a shopping mall and lo-fi hip hop beats. Tell me why you wanted to use this kind of music and what the collaboration with the composer was like.
Indeed, the film’s music is a captivating fusion. Initially, I sought a music genre that could elevate the film’s essence to a higher level, considering jazz for its embodiment of the lightness, spontaneity, and unburdened qualities the film conveys. Collaborating with Composer Anton Sysyov (Green Boodah BDA WBK), we conceived a ‘light mix of everyday life,’ merging romantic music, hip-hop, and jazz. Anton composed a trial track without any visual references, aiming to remain free from preconceptions. Upon hearing the track, I sensed the film’s cohesive identity for the first time. The composer then fine-tuned the music to sync seamlessly with the final edit, aligning closely with my vision.
Of course, ice swimming is very popular in the Arctic Circle. Did you know you always wanted to have this scene? Was there any protection in place for the male lead so he wouldn’t go into shock, or is he used to these cold temperatures?
I hold a profound admiration for this scene as it uniquely delves into the themes of love and rejection, central to the film. I always considered this scene an essential component from the outset. Despite frigid conditions at around minus 20 degrees, the male lead in the scene, an adept ice swimmer, made it a remarkably successful documentary shot seamlessly woven into the cinematic narrative.
I sought a music genre that could elevate the film’s essence to a higher level.
I found the Christmas setting interesting as well, with statues of what looks like Father Frost and other Russian Christmas characters. Why did you want to set it around Christmas?
I wasn’t directly inspired by Christmas, but rather by the concept of fairy tales. The idea of ideal family relationships is similar to a fairy tale. The statues you mentioned are located in a Murmansk city park and are based on S. Ya. Marshak’s fairy tale The Twelve Months. In this story, the protagonist must retrieve winter flowers for her wicked stepmother under the threat of death. She encounters the Twelve Months in the forest, who empathise with her situation and decide to switch places so she can find the flowers. The story carries deep symbolism, as winter flowers are akin to a miracle, much like the daring act of plunging into icy waters.
What are you working on next?
I’m presently editing my upcoming short film Beromut geared towards children, exploring the theme of believing in miracles. In this project, my creative challenge lies in merging photo-based animation with live-action filmmaking.
