Watch me write an Oscar-winning screenplay based on this photo. (It’s in German with subtitles, which is always a good start when you are hunting Oscar.)
The beautiful, young Farahilde lives here in Unterbringen Sie auf der Klippe (The House on the Cliff) with her family, led opressively by her father, Bernard.
Across the valley lives handsome Jäger. But he’s not moviestar handsome, he’s Euro/Indie Rock handsome. In America we call that homely.
This part in the middle where all the details happen isn’t the most important part in terms of winning the Oscar with artsy, esoteric flair. The ending is where the money gets printed. So, suffice it to say the two youths fall in love after years of watching each other across the valley. (Bonus: When they finally meet, Jäger sees that the great distance across the valley had covered a multitude of sins in terms of Farahilde’s beauty. Now, face to face, her beauty had a more impressionistic quality. But it didn’t matter. His love had been sent and he couldn’t stop the train.)
After lots of conflict arrises then gets resolved, they inherit Unterbringen Sie auf der Klippe and we end with the beautiful image of Jäger and Farahilde strolling along the cliff’s edge on a day that could not be more gorgeous, if a little blustery. But even then, the bluster made a ballet of their long blonde locks.
As they stroll, Farahilde takes a bad step and, without warning from the dramatic score, slips out of Jäger’s loving hands over the cliff. Jäger weeps desparately before throwing himself over as well so he might catch up to her and they can embrace one last time before fading into the meltwater.
The End.
Oscar, a sadist at heart, loves this kind of stuff. The less conflict resolution, the more despair, the artsier it is.
House with some view (via e³°°°)