We met Julius Berger and Frederic Blindow to delve deeper into their film project “Conversations”: our daily race against time, in which a story is built and a narrative created, is fascinating, certainly. And if these narratives are fictions and lies? What noisy plots are we building?
In the Pulse of Brooklyn, with “Conversations”: Exploring Reality and Perception
In a world that runs and moves restlessly - intertwining the threads of reality - the lives of others intersect, creating plots of unique perceptions. In the urgent need to follow our own path, each of us carves out space in the world, with our own story to tell.
“Conversations” is an immersive and reflective journey; together with the protagonists, we explore the spaces where reality and perception meet and intertwine – an elusive narrative, marked by the click of heels on the asphalt, the chatter of social media videos that take hold of our bodies in an endless scroll. Reality is deceived by stories, stories that are constantly renewed and change their structure.
Born from an apparently random conversation overheard in Brooklyn, “Conversations” captures and holds the tireless energy of the city – of the tireless ones in motion. How many stories do we tell ourselves to keep moving?
In this interview, directors Frederic Blindow and Julius Berger share their thoughts on the “Conversations” project, a reflection on reality and rhythm.
Brooklyn is the backdrop of this incredible work; the rhythm of this city, ever-evolving, revolutionizes the lives of its citizens and the people who inhabit it. That rhythm influences the narratives we create, both personal and collective.
Through a lens that blurs the boundaries between fantasy and reality, “Conversations” invites viewers to reflect on the fleeting nature of time, the complexity of identity, and the search for meaning in an often chaotic world.
The genesis of “Conversations”
Where did the idea for “Conversations” come from? Was there a specific moment that ignited the creative spark?
We were walking through Brooklyn on a sunny day when we overheard a conversation. Someone was talking about the sun and the moon being in the sky at the same time. We loved the randomness of it. That moment sparked the idea to explore the everyday poetry that exists in overheard conversations.
Why Brooklyn as a setting? What does it represent for the theme of the film?
After spending quite some time in NYC, we felt that Brooklyn has a more authentic character than many parts of Manhattan. When people think of NYC, they often picture skyscrapers, crowds, and places like Times Square—but that’s only a small part of the city. We wanted to capture the real NYC, the one that exists beyond the towering buildings.
The piece seems to play with the boundary between reality and perception. What inspired you to explore this theme?
There’s always something happening in NYC. It feels like the city is in a constant grind—it never stops moving. In moments of stillness, we often forget what even happened last week. With Conversations, we wanted to capture that zeitgeist because it resonates deeply with us.
On narration
I have always been fascinated by the anthological concept of time in history and storytelling: does “Conversations” follow a defined narrative structure or does it leave room for a more spontaneous flow of events and encounters?
Even though there's a story being told, understanding it immediately isn’t the point. We find it more satisfying when the meaning unfolds slowly—when the visuals are compelling enough to make you pause and reflect. For us, the piece can be interpreted in countless ways—or not at all.
How did you work on the fusion between visual language and conversations to emphasize the theme of subjective perception?
In this project, the line between fantasy and reality is intentionally blurred. Sometimes, we fantasize about doing something, but when confronted with reality, we behave differently. At times, we're even in denial about what we truly want, especially when it conflicts with what we feel we ought to do.
On the city and other places
How does the frenetic pace of New York influence the stories told in the film ?
New York feels like a relentless force, always driving you to keep moving and hustling. People are always rushing from one place to another. The city draws you into its rhythm, and before you know it, you’re wondering what you even did last week.
Did you find a common thread between the experiences shared by the protagonists, despite their differences in background?
Yes, they both reflect the restlessness of NYC and our inherited adoption of social norms.
Could “Conversations” be set in other cities?
It could definitely take place in other metropolises. The idea that cities move at a fast pace and people lose themselves in that rhythm isn’t new. It’s a recurring theme in romanticism. Humans seem to be drawn to exploring that sentiment artistically over and over.
On Brooklyn
Brooklyn is a symbolic place of change, creativity, and constant movement. How does this context amplify the tension between reality and perception?
As mentioned earlier, it’s the speed of the place that intensifies the tension between what is real and what exists only in our minds.
Have you met people who seem to have embraced their “truth” more than others? Or is everyone, in some way, playing a role?
This opens the age-old discussion about free will. Scientists and philosophers still haven't reached a consensus on whether we truly have it. However, some people do seem more content with their lives than others. The real question is how we cope when we feel deeply unhappy. We believe humans have an inherent ability to make their lives a little better when they feel stuck.
Is there someone who lives with you, every day, who lives their own illusion?
Isn’t our entire perception of reality an illusion? Everything we see is merely encoded and interpreted by our brain. Somehow, it orchestrates all the sensory information into what we believe to be real. Making sense of all that—isn’t that a miracle and an illusion in itself?
On the experience
Is there a moment that particularly struck you during filming?
We tried to tackle the more complicated shots first. Some scenes turned out to be harder than expected due to external factors like passing cars. But instead of getting frustrated, we stayed positive and supportive of each other. That was truly beautiful.
After shooting this project, have you changed your way of perceiving reality and the stories we tell ourselves? How can a work like this affect the lives of those who create it?
Working on this project reinforced our belief that reality is a blend of our desires and fantasies.
On the relationship between perception and reality
The film questions the boundary between reality and perception. But is there really a clear distinction, or is everything an overlap of what we see and what we believe? Do you think that personal perception is more powerful than reality itself?
That’s a great question. What is real, and what only exists in our heads? Since our brains process all sensory input to create our perception of the world, one could argue that reality and perception are deeply intertwined. When many people agree on a shared perception, we tend to call that reality. But aren’t our fantasies also real in their own way? We perceive them using the same biological mechanisms.
In a time of hyperconnection and continuous self-narration, is it still possible to distinguish between authentic experience and the construction of the self?
The self is shaped by many factors: our DNA, our experiences, and our perception of our social roles at any given moment. Our self-perception shifts depending on who we're with—you see yourself differently with your parents than with your coworkers. Yet there's a persistent sense of continuity we call "the self." In big cities, where social settings constantly change, we may switch between different versions of ourselves more often, intensifying the blurriness between what is real and what exists only in our minds.
Speaking of perceptions; have you ever questioned the creation and foundation of this project itself?
In any production, you always face unexpected challenges. But that's part of the fun—solving problems together for a shared creative goal.
On the need for movement
“Conversations” suggests that we construct stories about ourselves to stay in motion. But is this movement progress or just a way to avoid facing the void? Do you think people need to believe in their own stories to give meaning to their lives?
Meaning in life can be found in the alignment between the actual self and the ideal self. When you're living in accordance with what you truly want, you experience a sense of meaning. But you need to be brutally honest with yourself about what you really want. Distinguishing the ideal self from the “ought” self is difficult, but once you find the courage to move toward your ideal, a more meaningful life lies ahead.
In your opinion, is there a point at which these narratives stop protecting us and start trapping us?
Absolutely. These narratives can become pathological. There are many ways in which our perceptions misalign with reality, leading to significant personal distress.
On the need to stop
Today it seems that the value is in constant movement: the more you do, the more visible you are. But are the real revolutionaries perhaps those who choose to stop?
Mental health issues often arise when stress exceeds our resilience. In today's society, we must be mindful of what we feed our minds. Social media, in particular, can negatively affect mental health by distorting our perception of the ideal self. That makes it harder to align the ideal and actual selves. So, it is crucial to rest when rest is needed.
Why do we need to always be on the move, in your opinion?
Our brains are remarkable. On one hand, they enabled us to build the societies we live in. On the other, they struggle to fully adapt to rapid change. The constant comparisons we make via social media are especially tough to process. We need to be more mindful of this and prioritize mental health.
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Credits:
Director: Frederic Blindow (@fredericblindow) & Julius Berger (@j.berj)
Cinematographer: Waleed Sokkar (@waleedsokkar)
Photographer: Julius Berger (@j.berj)
Colorist: Florian Staerk (@florian.staerk)
Music Composer: Next of Din (@nextofdin)
Sound Designer: Igor Dyachenko (@igordyachenko)
Starring: Junie Edwards (@nueveisme) & Dania Macias (@ddaniamacias)
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Teresa Borriello
Freelance journalist and editor based in Naples. I wrote about people, fashion, food, sustainability, and social justice - and other things. I write about what I care.
@teresaborriello