Interview with Maria Constanti

Both Breath and Clay: Fragments of a Ritual Prayer explores the mythological motif of the night-sea journey.
This short experimental film delves into the poetic threads of our liminal bodies, celebrating rhizomatic existence, and meeting the wound's space as a ritual of prayer in an ongoing state of becoming.

IAG: This is truly an art film. What inspired it?

MC: It’s inspired by my poem of the same name nestled within my debut collection "Vade Mecum." It’s a deeply personal odyssey of navigating unknown shadowlands, echoing the mythological metaphor of the night-sea journey, which symbolizes the process of individuation. It embraces the liminal spaces of our bodies and the transformative power of prayerful contemplation.

IAG: You co-directed this film with Marc Samper Vidal. What was that creative-collaborative process like?

MC: Our collaboration was a truly enriching experience. We embarked on a creative journey fueled by mutual inspiration and shared vision. We approached each aspect of the film with a spirit of experimentation and exploration, allowing room for spontaneity and creative freedom. Our roles were complementary, with each of us bringing unique strengths to the project. Marc’s technical expertise and artistic sensibility were instrumental in capturing the visual essence of the film while my background in poetry and storytelling shaped the thematic depth and narrative structure.

IAG: Everyone who has seen this film is impressed by how deeply you "went for it" in your performance. You truly gave yourself to this performance—for example, communing naked with the soil, walking barefoot on shards of glass, dancing alone at the waterfront. Have you always been this fearless with acting?

MC: While I have always been passionate about creative expression, this film allowed me to push my boundaries and explore new depths in my performance. The process of creating “Both Breath and Clay: Fragments of a Ritual Prayer”, encouraged me to embrace vulnerability and fearlessness. Communing naked with soil, walking barefoot on shards of glass, and dancing alone at the waterfront were all moments of intense vulnerability and surrender to the creative process. This film provided a unique opportunity to fully immerse myself in the performance and embrace the challenges it presented. It was a transformative experience that allowed me to tap into a deeper level of authenticity.

IAG: What is your advice to other actors who can't fully let themselves go during a performance?

MC: Embracing vulnerability and trusting the process. When you allow yourself to be vulnerable, you open the door to authentic expression and deeper connections. Trusting your instincts is equally important, it's about tuning into your intuition and allowing it to guide you through the creative journey. By immersing yourself fully in the experience and surrendering to the moment, you create space for genuine emotion and authentic storytelling.

IAG: Where was this filmed? I'm particularly curious which lake that was.

MC: It was filmed in various locations in Berlin and Athens, but mainly at the big lake of Wannsee in southwest Berlin.

IAG: Are you working on any new projects? If so, what's the premise?

MC: We are working on an audiovisual performance installation piece called “The Cartographer and Her Chorus: A dreamscape monodrama”. This is a project inspired by dream incubation Rituals. These rituals were practiced by many ancient cultures and refer to the practice of sleeping in a sacred precinct to intentionally experience and nurture a divinely inspired dream, often associated with healing or prophecy.

IAG: Last but not least, what are three films that have inspired you?

MC:

• Stalker by Andrei Tarkovsky

• Sleep Has Her House by Scott Barley

• Cemetery of Splendour by Apichatpong Weerasethakul