No Man’s Land
Alienation in modern metropolitan life
Directed by Alexander Ronsdorf
Directed by Alexander Ronsdorf, No Man’s Land, captures the alienation and transience of modern metropolitan life, exploring the “non-places” of cities - spaces where meaningful connections feel elusive.
Entirely self-taught, Ronsdorf draws inspiration from his encounters with people from around the globe, the interplay of old traditions and new trends, and the subtle anomalies of everyday life. With No Man’s Land, Ronsdorf brings his vision to the screen, inviting viewers to reflect on the emotional undercurrents beneath the urban surface.
No Man’s Land emotively delves into the concept of "non-places" and transient urban spaces. What was the inspiration behind focusing on these environments?
It really started when I moved to Berlin a couple years ago. I grew up in the middle of nowhere somewhere in south Germany, very close to the alps as the middle child of a big family, we literally were surrounded by fields, forests and cows. Moving to Berlin changed a lot. I mean I love the place! I love to live here, I love the people and the vibrancy. But after living here for a bit I got the feeling that most of the people that move here, think a lot about leaving again. It seems like everyone is always looking to the next destination, as if we’re all just passing through. We don’t come to lay roots; we’re here for work, to find ourselves, a thrill, or a partner, and once we achieve what we came for, we leave. This mentality encourages us to travel light and stay flexible. I know I’m generalizing somewhat, but this rings true for so many, including myself initially.
It feels a bit like the transit space of an airport. You arrive, grab an overpriced coffee, sit down next to your designer aluminum luggage and then you just wait for the next flight while scrolling on your phone. Just floating through the space like buffered individuals. Marc Augè calls places like that “Non-Places” hence the name - “No Man’s Land”. These are places without meaning, identity or soul, they merely exist for function. Like an airport, a highway, a mall or a hotel. What a “non-place” is, is very subjective, to someone working at the airport it’s obviously more than pure function, but for the individual traveling through, the place exists merely for a frictionless passage. In these places we do not live, we remain anonymous and lonely. The paradox of these places, Augè says, is that anyone can feel “at home” in them regardless of their actual background because they are equally alienating to everyone.
When I read about Augè’s thoughts, I felt that metropolitan areas like Berlin, London, and NYC are increasingly becoming non-places, or at least, we treat them as such. Our lives in these cities are increasingly consumed by the rush of hyper-individualism and media overconsumption, turning relationships and even the cities themselves into commodities. The primary purpose of these places becomes transactional: What can you gain from being here? And from my perspective that makes it almost impossible to build deeper connections, live in a healthy community with others. It amplifies that search for meaning, contributing to what I see as a “meaning-crisis” where everything is within reach, yet nothing feels substantial. In my film, I aimed to portray this through the dual worlds of the protagonist—one world is sterile, corporate, and artificial; the other is warm, communal, and connected to others, to self, and to the transcendent. It was crucial for me to convey that finding such a “home” doesn’t require fleeing but finding a deeper connection right where you are. It’s about building your home right where you are.
Shooting on 35mm Fujifilm evokes a certain nostalgia and texture to the film. What inspired the decision to shape the mood of the film through this medium?
I absolutely adore shooting on 35mm—it’s my favorite medium by a long shot! If it were up to me, I’d shoot everything on 35mm. There’s just something about the entire process that enhances the focus and workflow throughout the production. As many great filmmakers already said, it’s timeless. We shot this on old and expired Fuji Eterna 500T stock. So the look was definitely an experiment. The initial scans came out quite off and wonky, but I personally love the distinctive look we achieved. It stands out distinctly from the results you’d get with a fresh roll of Kodak Vision3.
Can you share with us what it was like working with the actors, particularly Aaliyah Lynch and Lavinia Ruf, to ensure their performances conveyed the nuanced emotions of detachment, yearning, and self-discovery?
Working with them was great. Aaliyah and I had some meetings beforehand and we took some inspiration from Terry Malicks “Knight of Cups”. I particularly love the “lostness” Christian Bale embodies in that film movie and it was the main piece of inspiration I gave to Aaliyah beforehand. She immediately got what I was looking for. So on Set we were just like “This is a Christian Bale Moment”, that was our little inside joke and it worked out great! Lavinia joined the film to help me out with set-design. Originally, other actresses were scheduled for that shoot, but when they couldn’t make it, Lavinia stepped in - and it turned out to be my favorite moment of the entire shoot. The scene came out even better than what i expected and it felt incredibly genuine, probably because it truly was. We just had a blast filming it! I absolutely love working with people who not only understand your vision but are also ready to run with it. Huge Kudos to them!
The sound design plays a critical role in conveying the disconnection felt in urban environments. How did you collaborate with Everklang to beautifully balance the relationship between sound and silence throughout the film?
Sound plays a pivotal role in filmmaking for me; it truly can make or break a film. I’ve had the pleasure of working with Phil since the first film I directed, and our collaboration has only deepened over time. We have developed a strong mutual understanding of each other’s work, which is something that truly evolves with time.
My goal for the soundtrack in the first part of the film was to convey a sense of monotony, which is why we opted for modular synths. We specifically chose repeating patterns and monotone sound cycles to encapsulate the feeling of the non-place. For the second part of the film, I was eager to explore something completely different. I’ve always felt a deep connection to ancient-sounding music, particularly orthodox church choirs. Their transcendental, heavenly quality has captivated me for a long time, and I’ve been wanting to incorporate that into a film. Phil was able to take all my ideas and inspirations and transform them into a beautifully crafted sound-world that I am immensely proud of.
“I felt that metropolitan areas like Berlin, London, and NYC are increasingly becoming non-places, or at least, we treat them as such.”
The set design by Lavinia Ruf conveys this disconnected nature of metropolitan life. How did you choose your shooting locations for the film, and what was the process of transforming these spaces into the "non-places" central to the film’s concept?
The goal was to portray two contrasting worlds within the film. The first world represents the world of man, characterized by an absence of green, abundant concrete, and sterile, man-made environments. I wanted these locations to feel replaceable, lacking distinctiveness to any specific city, and with that emphasizing the anonymity of non-places and the seamless transitions we experience when moving through them.
The second part of the film shifts to a world of the transcendent, best represented through natural elements. This world is filled with trees, expansive fields, and spaces that invite breath and depth, contrasting sharply with the first. Connecting these two worlds is an alien-like door, a recurring motif in my work, symbolizing the gateway to the transcendent. This door, which could appear anywhere, invites viewers to a realm that I believe is accessible from any place.
Lavinia and I incorporated various symbols into the film to reinforce these concepts, such as the light mask and the vortex in the glass. They really encapsulate the sterile and cyclical nature of living in a non-place.
You’ve mentioned that your creative drive stems from being raised in a large family in an isolated environment. How has this shaped your perspective on themes of loneliness, connection, and alienation in your work, particularly in No Man’s Land?
As mentioned, I grew up in the countryside with few people around except for my siblings, so I spent a lot of time with them. My mother, a remarkably crafty and creative woman, always came up with inventive activities for us. This environment nurtured a creative drive in me, instilling a passion for making the most of what’s available and creating new things from the ground up.
Personally, I’m someone who thrives on solitude - that’s where I recharge and find peace. A significant part of this is my faith and the quiet mornings spent in prayer. This solitude isn’t just a retreat; it’s also where I’m most creatively active, working on ideas, treatments, scripts, and more. The onset of the social media era, with its relentless demand for attention, really pushed me towards valuing quiet. The constant rush it creates made me crave the stillness that breaks that cycle.
Balancing my time alone with time in the community is important to me, especially as I navigate life in a city like Berlin. I’m married, and I cherish the moments spent with my wife. With a child on the way, my life is set to change even more. Prioritizing and being wise about taking breaks to recharge is crucial for me. This balance is essential in maintaining both my personal well-being and my ability to engage meaningfully with others.
Starring: Aaliyah Lynch, Lavinia Ruf
Written & Directed: Alexander Ronsdorf
DP: Kyrill Ahlvers
1.AC: Luca Gruber
Producer: Alexander Ronsdorf
Steadicam Operator: Ciro Kavouras
Gaffer: Micha Ruf, David Jäger
Set Design: Lavinia Ruf
Edit: Jonas Baumgärtel
Grading: Florian Staerk SEC
Original Score: P.K. Stephan for Everklang
Sound Design: Everklang
LAB: Cinelab Berlin
Rental: RGB Rental