Mariechen’s earliest memories date back to World War I – meanwhile a historic event dating back as far as the time of her birth and known to most people from history classes only. Mariechen is an emancipated and resolute woman, and humorous on the other hand. There were many occurrences in her touching life that could have broken her – a most dangerous surgery as an infant when modern medicine was at an early stage, two world wars, physically and mentally demanding farm work, her husband’s death, and finally the digital age. But she made all challenges of the last century due to her special humor and her openness.
The film climaxes with the upcoming centennial celebration that Mariechen is concerned about. Her favorite option would be to lock the door to escape the expected mass of congratulators like relatives, neighbors, community representatives, church choir and pastor – and “to wait for a good end of her life”….
Meanwhile, she is looking back on funny and tragic episodes of her life, focusing on crucial childhood memories. And although Mariechen moved with the times throughout her life and remained young, her stories are about time periods, daily occurrences and sufferings that leave the 21st century spectator deeply wondering.
Different picture levels are illustrating the stations of Mariechen’s life: Autumnal pictures of the old half-timbered house in the Vogelsberg, in which she was born in, and old black-and-white photographs reflect young Marie’s attitude towards life. Film viewers, however, get to know her in the house that she has been living in since the sixties of the last century. The “retro-looking” interior of the house in a way mirrors her character: functionality, simplicity, clarity. Inspired by this vintage design, the camera is consistently working with symmetric-framed and static pictures and allows the spectator to explore a museum-like microcosm and to empathize to different periods of a remarkable life.
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