Exploring "White Snail": A Unique Journey into Love and Mortality in Belarus
It all began with an unexpected visit to a morgue in Belarus—a scenario few writers have likely found themselves in. White Snail, the latest film from directors Elsa Kremser and Levin Peter, made its world premiere at the 78th Locarno Film Festival, captivating audiences with its unconventional narrative.
The film follows a Belarusian model, Masha, portrayed by Marya Imbro, who aspires to build a career in China. She becomes intrigued by a reclusive morgue attendant, Misha (played by Mikhail Senkov), leading her to confront deep-seated themes of body image, beauty, and mortality. As the synopsis suggests, their unlikely romance flips their worlds upside down, revealing a fragile connection shared by two outsiders who realize they are not alone in their struggles.
In their director’s statement, Kremser and Peter describe White Snail as a pivotal moment in the lives of two young Belarusians—a bold act of defiance against societal stigma and exclusion. They add, "Open questions about a future not yet decipherable arise, like something smoldering in the haze of sultry summer nights."
The film, an Austrian-German co-production, is being handled for international sales by Intramovies, with producers Lixi Frank and David Bohun from Panama Film, alongside Kremser and Peter from RaumZeitFilm. During their press sessions at Locarno, the filmmakers and cast members provided insights into the film’s conception and its rare glimpse into life in Belarus.
Kremser’s connection with Misha began a decade ago at the Minsk Film Festival, where his invitation to the morgue left a lasting impression. "For the first time in my life, I saw a dead body," Kremser recalled. Following that startling experience, Misha revealed his apartment adorned with large paintings, including one depicting a girl who survived a suicide attempt—an image that resonated with the film’s themes.
Peter expressed his fascination with Misha’s perspective and wanted to capture his unique worldview. The search for the character Masha led the directors to Imbro, who brought an entirely new dimension to the film. "We spent time with both of them, observing their lives and surroundings, which helped us shape the story and script," Peter explained.
The narrative for White Snail draws heavily from the real-life experiences of its lead actors. Senkov shared that portraying himself on screen felt natural: "There’s nothing in this story that isn’t me." In contrast, Imbro found the process challenging, as it required her to reveal emotions she typically kept hidden. "It took a lot of energy and trust to show my true self," she admitted.
One of the film’s most surprising revelations was that it was largely improvised, with no formal script. "All the dialogue is genuinely Masha and Misha’s," Kremser noted. "They met for the first time on the first day of shooting."
Logistical challenges added to the film’s complexity, as Bohun highlighted the difficulties of accessing Belarus. "Traveling to the country involves lengthy procedures, making it a high-risk production," he explained, emphasizing the need for multiple contingency plans.
The film’s title, White Snail, emerged later in the process, symbolizing Masha’s life experiences. Kremser shared that Masha’s mother used snails for skincare treatments, which resonates with the film’s exploration of vulnerability. "Snails are inherently delicate, and a white snail is even more so," Peter added.
Reflecting on their initial meeting, Imbro recalled, "It was very brief; I just blinked." Senkov noted their profound differences but felt an undeniable connection, sensing they would click despite their contrasting backgrounds.
In White Snail, Kremser and Peter invite viewers into a world that is both intimate and revealing, exploring themes of love, mortality, and the human experience in Belarus. This film promises to leave a lasting impression on its audience, making it a noteworthy addition to the cinematic landscape.
