Experiencing Interruptions?

4 m@xime

Is Maxime a recognized carpenter, although he failed the machine test? After Maxime's death I started to photograph the colorful stripes that are the trailer of this movie. A film with a sensational message: it's not "the sun Germany's", it's not "the german sun", but just sun.

  • Pawel Kocambasi
    Director
  • Maxime Armbruster
    Key Cast
  • Tamara Trampe (†)
    Dramaturge
  • Pawel Kocambasi
    Camera
  • Pawel Kocambasi
    Writer
  • Pawel Kocambasi
    Editing
  • snperstndi°
    Production
  • Project Title (Original Language):
    4 m@xime
  • Project Type:
    Documentary
  • Runtime:
    1 hour 20 minutes
  • Completion Date:
    April 3, 2022
  • Country of Origin:
    Germany
  • Language:
    French, German
  • Shooting Format:
    digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Pawel Kocambasi

Pawel Kocambasi studied film directing at the Film Academy Baden-Württemberg.

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Director Statement

ESSAY FILM

An excerpt from the LoI written by script consultant Tamara Trampe: "Declaration of intent to provide dramaturgical advice to the project in post-production”

The filmmaker recently showed me parts of the footage, and I was fascinated by his idiosyncratic approach to the topic of addiction. The usual perspective on a life like this, a life determined by addiction, is one of sympathy or even pity. All too often, the fault is placed with the subjects themselves, who are seen as "weak". Maxime, however, as I saw him portrayed in the footage, is not weak.

He is cheerful, eloquent, and he is loved by those around him. Why does a young person choose a life where he is allowed to be "empty", as a friend calls it? How can this be, in a society where achievement and money are the only values that count?

When I look at his childhood photos, I see that his eyes have changed, and his laugh, too. What changed him so? His eyes are warm but sad, and his laugh is rarely relaxed. Mostly, it is self-deprecating.

In his long-term participant study, Pawel Kocambasi experienced and recorded many facets of this young man’s life. It will be fascinating to help this rich material gain a clearer focus.

A person chooses his own life, and in doing so refuses to live. Why does he do that? A fascinating question that can give us insights into the world we all live in.

I look forward to this work and will be happy to accompany it as a consultant.

My approach to this task will be not to lose sight of the WHY while not constricting the freedom inherent in the footage. Often, the question is more important than the answer, and the filmmaker’s subjective point of view is indispensable if we want to accept the subject’s decisions without immediately judging them.

Tamara Trampe

Berlin, 16 January 2018