Pura Vida Ibiza from writer/director Jens Schillmöller offers an instructional example of how to subvert audience expectations and thrive in an intriguing level of ambiguity in the most delicate and gentle of manners. Initially intended to be a feature length piece, Schillmöller was drawn to the task of creating a compelling film which adopted an observational and documentary-esque directing technique. The narrative, which I won’t spoil here, both explores and challenges our preconceptions of generations and our often misguided beliefs that the chasm of years which stretch between them mean we should keep our distance. A middle aged man, clinging onto his lost youth reminds us to take intense pleasure in the present moment and nudges us to perhaps push back those all too frequent regrets of times we let slip by us. With Pura Vida Ibiza continuing on its film festival journey after premiering at the 71st International Short Film Festival Oberhausen with further screenings coming up at Molise Cinema Festival and Buenos Aires International Film Festival, DN spoke to Schillmöller about finalising his younger cast members before assigning them specific roles from the script, why he chose to shoot the entire film with one lens and shooting the core, joyful dancing scene to no music.
Despite initial appearances, Pura Vida Ibiza is a film imbibed with of sadness and despair, where did our middle aged protagonist come from?
Pura Vida Ibiza tells the story of Ritchie, a middle-aged man stuck in his youth who never let go of his dream to become a famous DJ. Initially envisioned as a feature film, the story of Ritchie, who faces various confrontations with his past, was adapted into a short film in late summer 2023. One of the central themes we focused on was Ritchie’s interaction with a younger generation. This group, with their youth and carefree zest for life, represent something Ritchie desperately clings to, creating tension from the generational gap. This raises questions: What does he want? Why does he stay? What’s his secret?
The character of Ritchie is designed to make us feel uncomfortable. If he were 25 years younger and acted the same way, he probably wouldn’t.
Together with my DOP Stephan Fallucchi, we explored the stereotypes associated with our appearance. Age, skin, body, sex – everything comes with certain expectations. We used this as a foundation for a story where things don’t always add up, and we often create our own narratives based on someone’s behavior and capturing this ambiguous feeling was my goal for the film. Pura Vida Ibiza is also a film about time – the past and the future, youth and adult life, the old and the new. It touches on themes of lost time, good times, wasted time, and lifetime, guiding us through various moments in the film.
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How did the plan for a feature change and become a short film?
Initially, the plan was to create a short film quickly. A simple setup and brief production time. The concept revolved around the clash between two generations. I had envisioned the character Ritchie for some time, a man trying to connect with a group of young people. Additionally, I had another story inspired by a real-life event experienced by a friend, which I had intended for a feature film. When discussing it with Stephan, he suggested merging the two stories. This idea intrigued me because it added depth to the narrative. Moreover, it was an exciting opportunity to test the setup and see if it worked. We’re still considering expanding this story with the same characters into a longer format in the future.
Did you want to make us feel uncomfortable? I was very tense seeing the story unfold – there are so many different directions you could have gone.
Yes, the character of Ritchie is designed to make us feel uncomfortable. If he were 25 years younger and acted the same way, he probably wouldn’t. By linking certain behaviors and traits to him, I aimed to provoke the audience into forming their own opinions. Many of my favorite films do this – presenting characters that can be interpreted in multiple ways. The ambiguity in storytelling is something I seek in films, discomfort creates tension, and the question “What does he want?” propels the narrative forward. This engagement with the audience is a crucial part of the story.
I wasn’t focused on stereotypes of the generations but rather on what we see in each other and our expectations of certain people in certain groups.
I love the way in which you play with and gently focus on the stereotypes of both the younger generation and Ritchie’s age group.
When developing the script, I wasn’t focused on stereotypes of the generations but rather on what we see in each other and our expectations of certain people in certain groups. I found it interesting to play with these expectations, break them, and maintain ambiguity. As a filmmaker, I’m interested in the feeling of evaluating someone, forming an opinion, and then discovering there’s more to them. This feeling, which often limits our communication, is something we all know.
What were you looking for in your younger cast and the different dynamics within that group?
While I quickly envisioned Benjamin Höppner as Ritchie, casting the young group was more complex. We conducted individual and group castings, working with actors aged 16-20 through theater exercises to find the right group dynamic. After finalizing our cast, we hadn’t yet decided on specific roles. We adapted the screenplay characters and provided each actor with a backstory, ensuring they felt comfortable and natural within the group.
We emphasized their physical interactions as a group, contrasting with Ritchie’s static and isolated presence, who gradually blends in.
It was important to find a group that would believably hang out together and represent different individual identities and roles. This dynamic would emerge from their personalities. During rehearsals, we explored these dynamics, giving each character a clear direction and attitude towards Ritchie. We emphasized their physical interactions as a group, contrasting with Ritchie’s static and isolated presence, who gradually blends in. We used the script as a foundation but allowed the actors to improvise their lines. We shot long takes and minimized interference to let the actors fully immerse in the scene. We started with long shots and gradually moved closer, giving the actors freedom and preventing them from acting for the camera, helping them stay in the moment.
How did you approach the shoot and the camerawork to really focus on that observational mode and cinéma vérité style?
Stephan and I share an appreciation for calm, atmospheric, and observational cinema. We wanted to experiment with this style. Stephan had always wanted to shoot an entire film with just one lens. This self-imposed limitation was liberating and aligned with our theme of ‘simplicity’. With only two shooting days, we relied solely on natural light, enabling us to work quickly. For the final scene, we had just one hour at sunset. We used long takes to allow the actors to immerse themselves in the scene and forget the technical aspects of filming. We improvised extensively, going with the flow of the moment. This approach made the editing process, handled by Christoph Cepok, feel almost like editing a documentary. Christoph did an excellent job of finding genuine moments and connecting them naturally.
The goal was to make the situation feel ‘taken from real life’ and not like a staged setup, to enhance the discomfort of the encounter. We wanted the camera to discover everything for the first time, adding a documentary touch. We aimed for a softness and breeziness in the camerawork and color, and warmth from the actors. Someone mentioned it had an “ennui” feeling and could have veered into cringe comedy, which I agree with. I’m glad it didn’t, though I enjoy cringe comedies. We shot everything with a single lens to enhance the observational feel. As the story progresses, the camera gets closer and more handheld, as if it, too, becomes a bit intoxicated over the course of the story.
We wanted the camera to discover everything for the first time, adding a documentary touch.
Ritchie is a DJ and the youth contrasting with the older generation means the choice of music must have been a big consideration.
Music, as a reflection of time and youth culture, was crucial in developing the script. Knowing a reputable record label in Cologne and having musician friends made it easy to find fitting tracks. Interestingly, the dancing scene was filmed without music, which is apparent but adds an amusing touch as Ritchie is slightly off-beat, perfectly capturing his character.
Was it a challenge in the edit knowing what moments to include from that long final shot to keep true to the story and your intentions?
The edit was challenging due to the documentary-style approach, long takes, and improvisational freedom. We had to find the perfect edit for the crucial moments at the end. My intention was to convey Ritchie’s character, his dilemma, and his moments of longing and loathing. He’s overwhelmed by the situation and makes mistake after mistake, with his true intentions only revealed at the end. It wasn’t easy to select takes and edit them in a way that felt genuine when he opens up.
What are you working on next?
Currently, I am working on the script for a feature film about Ritchie, which will incorporate more humorous aspects and explore Ritchie’s comeback as a DJ among other things. There’s also an idea for another short film, which we might shoot later this year if we secure financing. I’ve also been writing some sci-fi short stories lately, which is a completely new direction for me. A somewhat strange experience…After many years in commissioned work, I love being back to making short films and doing what I originally set out to do.
