Everything is characterized by interruption: rehearsals for a production of Büchner's Woyzeck are interrupted shortly before the premiere, as is the main actor's affair with the trainee, as is her pregnancy and the future fantasy of having a child together.
Even their separation comes to a halt due to a lockdown. The couple, who can no longer be a couple and perhaps never was, are locked in an apartment, thrown back to their mutual dependencies and to the echoes of Büchner's text.
Newspaper reports about femicide and the associated court cases provided the impetus for Georg Büchner's Woyzeck. When it comes to acts of violence by men against women, little has changed in the past almost two hundred years. In Germany, a woman is still killed by her partner or ex-partner every three days. This is exactly where playwright Mahin Sadri and director Amir Reza Koohestani come in.
They do not talk about individual cases, but rather look for gender-specific power relations and structural violence in private life. What they find are patterns that they also show - but not to reproduce them, but to interrupt them.
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