Veronica is a young 25 year old woman who works as a prostitute. She remembers her mother, her punishment, her leaving, and his father, now with cancer, who saved her from her mother, and who loved her all his life.
A MATTER OF TIME
> Where did you get the inspiration to write this story?
While I was at my university, I had a workshop there about psychoanalysis, and different movies “based on true stories”, and I met a few women who shared their stories with me. One of them turned out to have a kind of “Oedipus complex” for her father, and that shocked me very deeply, so I decided to tell that story.
I think that these stories have to be told, that reality must be shown, and be faced by the audience.
> Sexuality is a big theme in your movie, or more specifically, prostitution. Did you intend the protagonist’s scarred sexual life to be an effect from her childhood?
I think that all behaviors derive from childhood. In this particular case, Veronica’s abusive childhood and sexual abuse were the main causes of her psychological trauma. Her path towards prostitution could also be understood as a consequence of her inability to feel any attachment, love or respect towards anyone else than her own father.
> You’ve said before that “religion is nowadays interpreted in a bad way”. Could you expand а little bit on that idea?
With this short film, in a way, I also wanted to show that “religious fanatism” is something that happens everywhere, and not only in the terrorist regimes that we hear about through the media. In the film, we can see that the mother of Veronica is herself “fanatical” in how strict she takes the practices of her religion, which confuses Veronica’s understanding of the world as a whole.
The minds of children are very easily manipulated, and this initial framework of a very warped religious education serves her father, later on, to make a sexual object out of her.
> As a young Bulgarian director, what do you think about the Bulgarian scene of short films?
I have to say that I’ve not been living in Bulgaria for a number of years, so maybe I don’t have a strong grasp of the Bulgarian scene of short movies – but for what I’ve seen, through different platforms, the films there are showing great progress, be it in narrative or visual expression. I think it’s just a matter of time. Sometimes, when something is working, you just have to wait.
At the point of the interview, Trayanova had just finished her adaptation of “The Algerian’s Flowers”, from French author Marguerite Duras, and was working on another short film related to the effects of the Second World War within Bulgaria.