TER­RI­BLE THINGS TAKE PLACE IN BEAU­TI­FUL PLACES — AND THAT’S LIFE. THAT’S HU­MANKIND

The Weekend Australian - Review - - Film -

be­came my trans­la­tor to Kai. I re­ally like hav­ing that in­ti­macy on set, so some­times I’d do a re­hearsal with just them and me. Be­cause I’d writ­ten the script I knew what they were say­ing — I just didn’t know some­times in which or­der they were say­ing it.’’

The trans­la­tion process, too, played a key part in the story’s for­ma­tion — to its au­thor’s great sur­prise, in some cases. ‘‘ It was re­ally in­ter­est­ing be­cause we changed a lot of di­a­logue through the trans­la­tion process, which I didn’t know would hap­pen,’’ she says. ‘‘ That was re­ally great; [trans­la­tor Elisabeth Meister] would say to me, ‘ oh, Ger­mans wouldn’t do that’; ‘ no, we wouldn’t say that’; or ‘ that wouldn’t hap­pen, that wouldn’t be po­lite’. So it was a fan­tas­tic process of cul­tural ex­change right from the start.’’

Short­land and her hus­band, fel­low film­maker Tony Krawitz ( Jew­boy, Dead Europe), al­ready had a strong Ger­man con­nec­tion: the South African-born Krawitz is de­scended from Jews who fled the coun­try in 1937, and the

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