Czech Director Matej Chlupacek on His Intersex Period Drama ‘We Have Never Been Modern,’ Why 1937 Feels Similar to Today and Casting a Social Worker
Czech prodigy Matej Chlupacek, a director scarcely beyond his twenties, astounded audiences at the illustrious 57th Karlovy Vary International Film Festival with his period drama masterpiece, ‘We Have Never Been Modern’ (Úsvit), triggering fervent speculation that it could become the Czech submission for the 2024 Academy Awards.
The screenplay, ingeniously crafted by Miro Šifra, transports viewers to 1937 Czechoslovakia, where Helena (Eliška Křenková, known for her exceptional performances in ‘Bird Atlas’ and ‘Winter Flies’), on the cusp of embracing a bright future in a contemporary metropolis as the wife of a prosperous young factory manager, finds her rose-tinted illusions shattered when a lifeless intersex newborn is discovered in their factory. A gripping tale unfolds as Helena embarks on a quest to unravel the truth, safeguard her child, and confront her own deeply entrenched biases. Inspired by the plight of intersex individuals in the 1930s, on the precipice of the cataclysmic World War II, the film serves as a poignant reminder of the struggles faced by those born with sexual or reproductive anatomies that defy traditional gender categorizations.
Intersexuality encompasses a spectrum of conditions wherein an individual’s reproductive or sexual anatomy deviates from conventional definitions of male or female.
A prodigious talent, Chlupáček, born in 1994, not only directs but also dons the hat of producer for the film. This is not his first venture into contentious subject matter. His debut feature, ‘Touchless’ (2013), explored the harrowing narrative of Jolana, an 18-year-old objectified by her stepfather, while her mother turned a blind eye, pushing her into a life of prostitution. Chlupáček has also earned accolades for his involvement in HBO Europe’s series ‘In Treatment’ and the miniseries ‘Rats,’ delving into the underbelly of drug dealing and police informants. For the latter, he received the esteemed Czech Film & Television Academy Award. Additionally, he has carved a niche as a commercial director and producer and oversees the operations of Barletta, a production firm collaborating with esteemed partners such as HBO Max, AMC, Wild Bunch, Canal+ (France), and ZDF (Germany), while fostering the development of both film and commercial projects.
Amidst his demanding schedule, Chlupáček graciously spared some time during the Karlovy Vary festival to share his insights with The Hollywood Reporter (THR). He eloquently sheds light on the genesis of ‘We Have Never Been Modern,’the symbolism behind the Czech title ‘Úsvit’ (meaning “dawn”), the resonance of the film’s themes with contemporary society, and the deliberate casting choice of a social worker in a pivotal role.
Delving into the significance of the Czech title, Chlupáček explains that ‘Úsvit’ not only translates to “dawn” but also refers to the name of the factory depicted in the film. While the physical appearance of the factory has evolved significantly over time, it retained its name, which symbolizes the emergence of something new and transformative. This notion of dawn aligns with the film’s overarching theme, where the clash between modernity and traditional values unfolds against the backdrop of a utopian 1930s world.
When questioned about the English title, ‘We Have Never Been Modern,’ Chlupáček justifies its selection by citing the influence of Bruno Latour’s renowned book of the same name. Latour, a distinguished French anthropologist, explores the dichotomy between nature and society in his work, dissecting the limitations imposed by modernity. Chlupáček reveals that they sought permission from Latour and Harvard University, the book’s publisher, to adopt the title for their film. Although granted the authorization, it was a bittersweet victory as Latour tragically passed away shortly thereafter, prior to the completion of the film.
As the conversation deepens, Chlupáček delves into the film’s thematic complexities and their relevance in contemporary society. The director notes that ‘We Have Never Been Modern’ encapsulates a clash between established norms and the arrival of something new, imposing its own set of rigid rules. By choosing to set the story in the 1930s, particularly in 1937 on the cusp of impending war, Chlupáček draws parallels to the present day. He believes that we perpetually exist on the brink of impending catastrophe, mirroring the unease and uncertainty prevalent in society.
When asked about his concerns regarding potential wars and social conflicts, Chlupáček asserts that his apprehensions stem from a culmination of factors. While acknowledging the existence of conflicts, such as the war in Ukraine, he acknowledges that their immediate impact on social life might not be as pronounced. Paralleling the film’s characters living blissfully ignorant lives, he asserts that present circumstances bear a striking resemblance to the past. The characters revel in opulence, ignorant of the upheaval awaiting them in the near future. Chlupáček contends that we are often blissfully unaware of impending disruptions, and it is precisely this precarious state of existence that fuels his concerns.
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Chlupáček’s film delves into an array of thought-provoking themes, including gender, sexuality, and bodily concerns, which continue to perplex humanity. Although the film is set in a historical context, the characters’ actions and dialogue exhibit a modern sensibility, mirroring contemporary society. Chlupáček challenges the traditional conventions of Czech historical cinema by imbuing his characters with modern attitudes and language. Additionally, the film employs an indie aesthetic, characterized by handheld camera work and an intimate proximity to the central protagonist.
The complexity of the film’s characters stems from meticulous scripting and extensive collaboration with the trans community. Chlupáček emphasizes the importance of crafting flawed characters rather than idealized heroines. Helena, the film’s protagonist, experiences a series of mistakes and missteps throughout her journey. This deliberate imperfection enables viewers to connect with her on a deeper level, empathize with her struggles, and learn from her experiences. Chlupáček himself admits to the personal realization that active listening is a crucial skill that warrants further cultivation.
At its core, the film conveys a simple yet powerful message: the imperative to listen before forming one’s own opinions. Chlupáček advocates for an open-minded approach that involves actively engaging with opposing viewpoints before jumping to conclusions. He highlights the character of Robert, who staunchly holds unwavering beliefs, only to be confronted with the consequences of his rigidity. Chlupáček draws a parallel to historical figures who failed to heed warnings, such as the infamous example of Hitler, whose actions were initially dismissed as inconsequential. Through the film, he urges viewers to embrace the transformative power of attentive listening and the willingness to understand diverse perspectives.
When discussing the input from the trans community, Chlupáček reveals the extent to which their insights influenced the development of the film. The director acknowledges the importance of not venturing into uncharted territory without the guidance of those who have firsthand experience. Extensive discussions with the trans community, coupled with invaluable feedback, prompted significant revisions to the script, including a reimagining of the ending.
Regarding the alteration of the original ending, Chlupáček explains that the intention was always for Saša, a key character, to undergo surgery in accordance with Helena and Dr. Kubák’s perspectives. However, after reflection and consultations, it became apparent that the emotional depth of Saša’s character was not fully realized in the script. To rectify this, the decision was made for Saša to return to his village, where he finds solace in a supportive family despite his inability to establish romantic relationships. This revised ending serves as a testament to Saša’s unwavering conviction in his identity as a man.
In terms of research material, Chlupáček cites Professor František Hájek’s book from 1937 as a primary source of inspiration. The book, referenced within the film, was the first in the Czech Republic, and perhaps even Europe, to delve into the topic of intersexuality. While Saša’s story is fictional, it draws inspiration from real-life accounts. Chlupáček’s intention was to weave a narrative that was both authentic and informed, staying true to the experiences of individuals who have grappled with similar circumstances.
