Filip Schnack & Susanne Wuest: When Silence Speaks

It is a quiet film. One that doesn’t get loud, doesn’t explain, doesn’t appease. And precisely for this reason In die Sonne schauen (Looking Into the Sun) hits the mark. With a calm camera, radical atmosphere, and a deep sense for the unspeakable, Mascha Schilinski tells in her award-winning feature film about loss, memory, and the scars that history leaves on bodies and souls. A century of German past, condensed into four interwoven women’s fates – compellingly portrayed by Lena Urzendowsky, Luise Heyer, Susanne Wuest, Lea Drinda, and Laeni Geiseler.

After its celebrated world premiere in the official competition at Cannes and winning the Jury Prize – one of the four main awards of the festival – the film is now in the running as Germany’s submission for Oscar nomination in the “Best International Film” category. The theatrical release is on August 28, 2025, with the Academy’s official nomination date following on January 22, 2025.

For SLEEK, actors Susanne Wuest and Filip Schnack look back in conversation with Christian Bracht on a film that burns itself into memory with quiet force – and speak about trust on set, the silence in the cinema, and why sometimes you have to go through pain in order to truly feel something.

Christian Bracht Mr Schnack, Ms Wuest, the Cannes premiere, the red carpet – what was it like presenting such a multi-layered film on that stage?

Filip Schnack It was incredibly exciting, not least because I hadn’t yet seen the finished film myself. I had no idea what to expect, and emotionally I was extremely tense. So many people were going to see it, and I didn’t know how it would come across. My expectations were high, and they weren’t just met; they were surpassed. Watching it for the first time with such a film-loving and critical audience was absolutely nerve-wracking.

Susanne Wuest I experienced it quite differently, actually. There were so many preparations beforehand that the moment everything was finally done felt like a release. I could finally focus entirely on the film. I hadn’t seen it in full either, only a few scenes during dubbing. Even then, the material was powerful. Standing on the red carpet marked the end of the production phase and the beginning of simply experiencing the film. Susanne is absolutely right. The film defies expectations. I’ve never seen anything like it. It’s truly a masterpiece.

CB What moved you most while you were there – the red carpet, connecting with filmmakers, or the audience?

SW The audience. Nothing can replace cinema. Sitting in a room and experiencing a film together is a unique moment. Especially with In die Sonne schauen, I’ve never experienced such silence in a cinema. You could feel the entire audience holding their breath at the same time. Being part of that was deeply moving. The Cannes audience is incredibly cinephile, people with a vast knowledge and love of film. The feedback from that room is invaluable.

FS I completely agree. That shared experience in the cinema was magical. You saw people laughing and crying; every emotion was present. To sense that so many people were feeling the film at the same time is almost indescribable.

CB The film spans a century and deals with memory, trauma and repressed emotion. Were there moments where the story affected you physically or emotionally?

SW Emma’s character touched me deeply. A woman who has lost several children – that’s still a heavily stigmatised topic today. The death of a child is also the death of the parents, and yet it’s rarely discussed. Emma’s withdrawal into silence made complete sense to me. And the strength she shows by standing up for another child is admirable.

FS I felt the same. The mental state of these characters is timeless. It’s just the circumstances that have changed, not the emotions. Physically, the role was very demanding. I played someone with an amputated leg, and my leg was tied behind me, which was extremely painful. My safe word was “applesauce” – that’s when they would release the leg again. It was a real physical challenge.

CB Mascha Schilinski works with a very quiet, almost tactile cinematic language. What was your experience of her direction?

SW Brilliant. Mascha is one of the best directors I’ve ever worked with. Her calmness, her clarity, her warmth – it’s rare to find that. When people feel safe, they open up. And trust is essential to good work.

FS I felt instantly protected by her. She creates a space where you can open up. Her way of directing is quiet but precise, and that’s something really special.

SW I was especially impressed with how she worked with children on set. One young actress felt uncomfortable in a scene. It was dark, lit only by oil lamps, and she had to look at her dying grandmother. Mascha immediately picked her up and carried her into the daylight, without hesitation, and cast another child for the scene. It technically didn’t make sense, but it was the right thing to do. Most directors would have tried to push through with the original child, but for Mascha the children’s wellbeing was non-negotiable. I’ve never experienced anything like it.

CB Do you think we’ve become more sensitive today to topics that weren’t discussed in the past?

SW Yes. I think we’re the first generation that talks openly about trauma and goes to therapy without feeling ashamed. That was unimaginable for our parents and grandparents.

FS I agree. In my generation, there’s an ongoing effort to remind people that it’s okay to speak out and that communication is vital. We’re not alone in this world, and even if we are, we can say, “Hey, I feel alone,” and maybe find connection. In the past, people coped physically by enduring in silence. Our generations look at things with a much more open and sensitive lens.

CB What are your hopes for In die Sonne schauen when it hits cinemas in September?

SW A long journey and a long life, and a wide audience.

FS And that the right people get to see it, the ones who can find something in it. It’s a truly remarkable film. But it’s not an easy one.

SW And that’s a good thing. A film doesn’t have to be easy. It has to have substance. I hope that those who were never allowed to speak about their experiences will watch this film and feel seen.

FS Exactly. It’s a film for anyone who wants to feel something. And I think that’s something we need now more than ever.