What's Left Of Us

Peccadillo Pictures Presents

WHAT’S LEFT OF US

As far as they know Axel, Jonathan and Ana are the last three human beings. Together, they live in a claustrophobic bunker in a post-apocalyptic hell. Outside lies a perilous, urban landscape filled with the undead, where they must scavenge and hunt for food and supplies.

In order to survive they have to learn to live together and overcome explosive human emotions; love, anger and even hate for one another. So Ana invents ‘the therapy room’, a place for them to privately record their confessions, which are then locked away.

But as boredom overtakes, they play a dangerous game by capturing and bringing a member of the undead into their home. Their new “pet” is one risk too far.

What’s Left Of Us is a gripping and terrifying drama that convincingly portrays what life would be like at the end of the world.

Previously known as El Desierto.

**OFFICIAL SELECTION: LONDON FRIGHTFEST**

★★★★★

★★★★★

★★★★★

Grolsch Film Works

Nerdly

Flickering Myth

“Beautiful, touching, moving, gripping and simply outstanding… A masterpiece.”

Flickering Myth

On DVD & On-Demand: 11th May 2015

Country: Argentina / Duration: 98 MINS / Language: Spanish /

Subtitles: ENGLISH / Cert: 15TBC / RRP: £15.99

Trailer: http://youtu.be/JsQN5K-xDoA

DIRECTOR’S STATEMENT – CHRISTOPH BEHL

In Jean Paul Sartre’s NO EXIT, three characters find themselves in hell and discovering, little by little, that ‘hell is other people’, or, rather than this, that hell consists in the lack of acknowledgement of others, such as the play suggests by the absence of mirrors. Because of a lack of an immediate and essentially emotional answer, the characters end up back in hell, where the identity of each of them experiences a destructive process.

In WHAT’S LEFT OF US, Ana, Axel and Jonathan are also going through this process of decomposition. They are not stereotypes, carriers of a single wish; they are complex, ambiguous characters who constantly disappoint us.

It’s precisely this ambiguity which creates that intimate hell, where the bodies intersect but never collide, as if they feared the encounter with each other. That bunker-house is settled within a time that’s separated from the human paradigm. I had particular interest in creating this suspended and breached time with a slow motion camera, with a frustrated encounter between Axel and Ana, with tied down characters, spinning over themselves. Ana, Axel and Jonathan have crossed the barrier of suffering and, during the course of the film, they suffer in their own bodies the real impossibility of finding themselves. Violence arises from that impossibility.

However, the desert - in which the characters roam like zombies in a continuous present – has not always been this way. A bit of the history of this triangle is revived in the film by means of the tapes that the characters record. It is Axel who makes the past return to the story, and with it, the idea of love. The flashbacks, these virtual fragments of the past, acquire in the film all the power of the present, and update the drama of something that never happened. There is something about that real vitality of the past, about what was never said and, nevertheless, comes to light, that keeps undermining the ground of the present and turning it into a battlefield.

The movie pictures that final phase, that final death rattle of a complex relationship. Many times I have wondered whether these characters were not choosing to stay, somehow, agonizing, crashing like flies against an imaginary glass. As a director, I was interested from the start in the idea of three bodies confined in a limited space. To what extent the enemy is outside, and in which way the limits of the prohibited create the bodies of desire. During the process of the movie I discovered that, in a post-apocalyptic world, love might be the last resource.

DIRECTOR’S BIOGRAPHY

Christoph Behl was born in 1974 in Germany. In 2003, he graduated as a Film Director from the Universidaddel Cine in Buenos Aires, and completed his studies at the University Pompeu Fabra of Barcelona. His credits as director include PUBLIC/PRIVATE (Special Mention of the Jury at the BERLINALE 2003), SOMEONE ON THE TERRACE and FORTRESSES, a documentary co-directed with Tomas Lipgot, which was praised by the local press.

Since 2007 he has produced creative documentaries from young directors: PUPPEN, ESSAY OF A NATION and THE WAYS OF WINE (FIPRESCI awar at Berlinale 2011), while he directed several TV Programmes and documentaries for local television stations and European channels.

He recently directed WHAT’S LEFT OF US, his first feature.

CAST

Lautaro Delgado – Axel

Victoria Almeida – Ana

Lucas Lagre – Pythagoras

William Prociuk – Jonathan

CREW

Christoph Behl – Director, Writer and Producer

Tomas Lipgot – Executive Producer

Nadia Martinez – Production Manager

Gustavo Biazzi – Cinematography

Agustin Vidal – Director’s Assistant

Daniel Gimelberg – Production Design

Paola Andre Delgado – Costume Design

Franco Gallo – Make-Up and FX

Fernando Vega – Editor

Matias Kaplun – Visual Effects