"I'm interested in anti-heroes who are total wrecks even before the movie starts, or psychopaths, or anti-social idiots, but who have a hidden secret, a human quality that slowly emerges, which makes them entirely unique and immersed in their own magical moment." Tobias Nölle (Director)
Every party must end, and leave some lonely people behind it.
Aloys has just buried his father, with whom he ran a detective agency. He continues to run the practice as if his father were still alive; spending his days invisibly following and recording his surveillance targets, living in the melancholy safety of his sterile routine. That is until a case of his video recordings are stolen. They matter to him, they connect him to life. Aloys the stalker becomes the prey. His cassettes are returned, but the game is just beginning. Vera, who seems to know a lot about him, lures him into a game she calls 'phone-walking.' It's a therapeutic technique invented by the Japanese for the chronically shy, in which participants have to mentally place themselves in the locations and situations described by the caller. The film's sharp aesthetic contrasts with its dreamy, opaque colors. As we move through Aloy's layers of perception, delusion and imagination, we are taken somewhere between life and fantasy, love and utter solitude.
2016 BERLIN, KARLOVY VARY, LOCARNO, BUSAN
Swiss director Tobias Nölle studied film at the School of Visual Arts in New York. He is known for his short René (2008), which won awards at various international festivals. Aloys (2016) is the first feature that Nölle wrote, directed and edited.