Hysteria -- Temperature curve of a love story, a 24-minute staccato of emotionally charged scenes and passions that all those who have ever been in love or fallen out of love know all too well, Hysteria shows the highs and lows, the powerful emotions of a mercurial relationship. What is unique about this film is its perspective, for the vast yet subtle drama of atmospheres and feelings is only portrayed through a series of telephone calls by a single person, as half of a dialogue without the voice, the face, or the place of the interlocutor.
Without the other person who is speaking and answering, this ancient game of amour fou is irritating, even annoying, and creates a strange distance, although the viewer is allowed to experience it all at close range. We observe Emma as if she is under a magnifying glass, but without being able to judge whether she is acting normally according to the laws of love, or possibly falling prey to madness just as every fool in love would feel trying to judge his own behavior.The point of departure that Mlecko (born in Essen in 1951) used as the documentary material for Hysteria is his own collection of authentic text messages. In this project, it was particularly important to him to translate this material technically into a cinematic work in order not just to suggest or quote film as his medium of choice, but indeed to access the material for the viewer. For many years, Mlecko s artistic work has has dealt with film aesthetics and dramaturgy. In his conceptual photo series and videos, he attempts to uncover the general cultural conditions of modern Western society, entirely in the spirit of an ethnologist not as a scientist but as a picture maker with a special intuition for the compositional and atmospheric potentials of these media.