'Murderer's House' - University of Victoria

R.R.: So an example of that would be in the love scene with your parents you say, “But I
am your daughter. I can‟t imagine how your skin touched yours.” So that is to break the
story?
H.S.-B.: Yes, these lines, in a way, are breaking the story, they are reflecting the story.
That is to say that these scenes that are shown as emotional scenes for the audience, are,
at the same time, reflected through the voice-over, saying “I don‟t know whether it was
really like this or not. I don‟t know how I am formed by what came out of this.”
R.R.: Is it also a comment on memory?
H.S.-B.: Yes. Reflection and memory. The reflection is a reflection of a memory. It‟s
not just the memory itself, you know, making you cry, or making you laugh. But it is a
reflected memory, that is to say, the memory is shown to make you think about it, to
analyze it.
R.R.: Another critic said that, by using the poem in your film, you are comparing the
German people to the Pale mother (who was both a victim and guilty of hiding a crime)
and the Nazis to the sons who murder their brothers, in the poem. What do you think
of this critic‟s opinion?
H.S.-B.: Yes, I think it‟s necessary to think about the difference of these sons murdering
each other and the mother fighting for her and her child‟s survival. This is the difference.
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