How did you come up with the idea for the film ?

I wanted to tell a love story, like if it were an accident, something that would never normally happen, to dig deeply into this love bond, often twisted in this story. Then I read La Gradiva by Jensen. In this book, there is the idea of a love connection coming from far beyond, from the past, from the characters’ childhood. There is also archeology in this story, the site of Pompeii: this site of suspended life corresponds to the inner part of the hero. This is something that really impacted me and inspired the characters of Anna and Peter.

Why unusual choice of narrative style ?

Fragmentation and continuity, these two extremes create a rhythm, a resonance with Anna’s sensations, with the fragments of memories and emotions which are still in her, although her body seems to be lifeless. I did a lot of research on coma. I read on the subject, I met former patients, nurses, doctors. Many coma victims wake up with memories of that parallel life experience.

Why did you choose to use a shoulder camera ?

To give a shaking impression drove my choice. I wanted an aspect of something unfinished, not too polished, not always stable. . . I think that corresponds to Anna’s character who, even though in a coma, continues searching.