How « the blood countess » falls over Luxembourg

The rotary crew spontaneously impressed the reflection of the plate in the showcase glass. Actually, only a piece of cake is to be brought to the table by Rudi Bubi by Strudl and Theobald Tandem in the world -famous Vienna Café Demel. But the team does not shoot this scene in the original Viennese coffee house, but in the middle of the Namur confectionery in the Capucins in Luxembourg.

Not only the café for normal operation was closed for this. In addition, the team built their trailer park on the Gëlle FRA and parked technology trucks in the rue of the bain. Not only did the locals and hooks be surprised at what’s going on.

The logistical effort was necessary for several filming locations in the Luxembourg Center, such as the Hôtel Cravat and the Café Interview. Because the charm that is needed is easier to capture in Luxembourg than in the original Vienna besieged by tourists, according to the production team. The classic doses and accessories from Demel simply become a props to produce Viennese atmosphere about it. The team around the Luxembourg production designer Christina Schaffer had their hands full to do that precisely.

Because for the pictures of the film, the inconspicuous details from the eye of the superficial viewer are crucial. « The Blood Countess » should convince to the smallest. Not only the director Ulrike Otter, but also her cameraman Martin Gschlacht attaches great importance to this when shooting in Luxembourg.

Both have received the highest industries for their work with the film camera; Martin Gschlacht about 2024 the silver bear in Berlin. And this passion should also be reflected in the current joint project, which has been created in Vienna in Vienna in the Grand Duchy since the beginning of March. « Ulrike is all about camera work for the first time. We are sure that we have a congenial partner at your side with Martin, » emphasizes Alexander Dumreicher-Vantu, together with Bady Minck, producer of the Luxembourg-Austrian production company Amour Fou, which will bring the film onto the screen.

The Luxembourg film find has provided 1.5 million euros as funding and thus secures a strong part of the estimated 7.4 million euros. The German Society of Home Film is also on board; A partner as with other Amour-Fou projects such as « Ingeborg Bachmann-Journey to the Desert », « Hannah Arendt » and « La Mort Viceendra ». That already indicates that the film is going to do big with the film. If everything goes well, he might be ready for the next Berlinale.

Prominent line -up and strong partner

The project certainly gives attention enough: Isabelle Huppert has taken over the title role of the blood countess, Birgit Minichmayr plays her maid. And other actresses from the first ranks of the German -speaking scene such as Lars Eidinger, André Jung, Marco Lorenzini, Karl Markovics, Thomas Schubert and Burghart Klaußner get the big stage. And, as the director emphasizes, the film also pays homage to the image motifs in Vienna-packed into a creepy-curling act.

Because the bloodthirsty countess must therefore fear that a book could destroy her activities. Her nephew – a vegetarian vampire -, his psychotherapist, two vampirologists and a police inspector, are attached to her heels. Or as Alexander Dumreicher-Vantu highlights as an advertising film insider: « We have achieved the highest artistic dimensions with the project and at the same time we turn to spectacular locations. With this cast and this director it was also easy to find partners. »

But why did Ottinger choose a film about vampires? Strong women as protagonists and unusual locations, the artistically experimental – these are motifs that can also be recognized in this film. “This is initially a film based on personal travel experiences. In 1998 I came to Vienna and was so fascinated by this city. Historical buildings such as the foolish tower, the Josephinum or the Semperdepot I wanted to capture. With all changes – and we feel this phase strong upheavals – also have something with which you can jump over the times. And they are permanently emotional. Assumed that.

The victim of sugar work

Producer Dumreicher-Vantu even sees a political dimension: « We live in a time when vampirism in society and politics go around. We only have to look at America and Russia. We are confronted with a return of the spirits of the past, with which violence and war return. When I read the script at this point of view, we are extremely up to date. »

But it still has to be turned further. The scene is examined for all team members. The camera drives with it when the waitress brings the cake to the table. This is followed by a short dialogue at the coffee house table, which merges into a spectacular, tongue-like attack by the vegetarian bloodsucker. Because Rudi Bubi, played by Thomas Schubert, has to live out his shoots on a bust of Empress Sisi from Sugarwerk. The camera must be able to capture that well.

And Lars Eidinger plays his therapist, who is not allowed to know about the dark side of his patient. In addition, the black comedy becomes clear in the short change of words that Ulrike Ottinger with the Nobel Laureate Literature Elfriede Jelinek has caught in the dialogues of the script. Is the Luxembourg Marc Thill on the Ton-Mikro right? Only when everyone is focused is the scene captured. It is directly checked on several monitors, where, among other things, data for the later cut are recorded.

And there is this special visual language that is already indicated in the rotary photos. Ottinger incorporates her other creative passions, painting and photography, into the history of this turbulent tour between Bohemia and Vienna. « I clearly tell with a picture language, and every detail is important. Of course, these are the actors, but it is every prop, it is every costume. It is the colors of the costumes, the style of the costumes and everything that is in the picture squad.

In parallel to the Luxembourg City Film Festival, not only in the middle of the capital, but also at Meysembourg Castle near Fels were shot. Ottinger raves about the Luxembourg team, which has already accompanied the project for more than a decade and is now implementing the shoot with it. « We have already tried to bring the financing to the ground. And now things came together, there was a cheap wind for the blood countess … »

International attention also through the Grand Ducal Couple

Is there a market for this? Ottinger’s films are deliberately artistic and focused on it. Producer Alexander Dumreicher-Vivanu is confident. « Films like that of Ulrike are what we want to do. Artistically attractive European cinema with a strong cast. And when we presented the film last autumn at the Venice Production Bridge – the film market of the Festival of Venice – we have been overrun with offers from world. will take over the world sales. and this is one of the best addresses for the independent film.

The real nobility even helped a little: The project was certainly not entirely offset that the Grand Ducal Pair went by during his Venice film festival in the negotiations. « It was a happy coincidence that the Grand Ducal Pair was on site when we, the blood countess’ presented and had an internationally presented and had discussions. The potential partners were impressed that the ruling house was committed to our work and films, » emphasizes Alexander Dumreicher-Vantu.

The next step is post -production. Ottinger is already looking forward to the upcoming rework, especially with the Luxembourg cut specialist Pia Dumont. « I can then condense my visual language again. And I’m also looking forward to the music. It is wonderful to have a team with creative influences from different countries. »