The Capsule

In The Capsule, it was a specific decision to shoot in one of the few Greek gothic houses from the 18th century. The house belonged to a woman who was a revolutionary and a ship merchant—the family didn’t have boys—which was quite extraordinary for the times. This made it very important for me to shoot there, as in the film it is a house where women are educated on what they are supposed to be in a male-centric society like Greece. I seek methods to get at the essence of the characters through archetypal spaces. Like the way it’s structured in ancient Greek tragedy, which is an important influence on how I construct my settings and characters.
[...]

And in The Capsule it’s very much about the threshold between women and creatures who are in the process of being born. At the same time, I think this question of borders is represented formally in my interest in genre. I don’t want to be apologetic about it, I do it in a very instinctual way—and it might not be in a way that is according to the rules. I think this interest in genre is something that is almost forbidden in female cinema. If you are a woman you do human stories, chick films, romantic comedies—there’s a limit in what we are expected to do. Which is something I find very sad. I don’t want to be limited by what women are “assigned” to do, in life and cinema.

[...]

There’s an unconscious, or conscious prejudice embedded in the audience’s expectations, and the critics. It creates a feudalism in cinema, and I resent that. After Attenberg, I did The Capsule, which was a genre I was very interested in exploring and getting my hands dirty with: gothic horror, the vampire film. And I reckon some people were like, “What does it have to do with Greek cinema?”