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The Last Night of Baby Gun

Baby Gun has trained her body for the system. A whore is a whore is a whore. She works in a world where everything, anything is for sale. Yet she has survived the hard knocks of the street, because her singing is like a weapon against this threatening world. Her delicate voice can even bring back Lennie, a simpleton, and her only friend. He can crush almost everything with his childish love, but Baby Gun still has him under her control. As odd as this seemingly unsuitable couple appears, they nevertheless unite in battle against the corrupt world of men.

Film notes

For a theater event, we had created these silent film scenes revolving around Baby Gun, a prostitute who's in a hopeless situation and who then somehow frees herself from this gangster world over the course of one night. After that, we kept shooting in order to make a film from the footage. Because it had begun as a silent film, there wasn't the possibility for much dialogue or, put another way, it gave us the possibility of telling stories in a different way. And then I decided to let the film's mood, music and narrator speak for themselves. I developed a main character with whom you can identify, one way or another: she works until she drops dead, she's always available, and always pushed to her limits. Life and work are, for her, inseparable. Baby Gun has to actually prostitute herself, and she does. She can never relax, and also has her only friend – this guy sitting in his living room who isn't fit to work. And when he sits too long alone at home, he gets stressed out and smothers his cats for no reason other than his longing for love. Only Baby Gun has a trick to protect herself from his murderous hands. But she didn't always have such magical talents. There was something unknown in her childhood that traumatized her. Maybe it was domestic abuse that landed her in the world of the gangsters. She's like a typical victim who doesn't realize that she's a victim. She thinks that if she only worked more, the gangsters would one day thank her for it. But in that respect, she is completely wrong – and yet her consciousness revolves around that idea. In order for her not to suffer a mental breakdown, she escapes into her singing. You might think that the film is a parable, like The Threepenny Opera, but it isn't. It's more like a giant dream machine, a kind of cosmos of archetypes or types just playing out their ancestral roles; a gangster movie, but one that mixes up the cards. Of course, it's also romantic

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Copyright © 2013 Jan Eilhardt

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Information on this profile is provided by the film owners and/or compiled from available sources | Profile updated 22 Nov 2013