Viola Fügen

Viola Fügen’s filmography is honestly a wild ride through some of the most interesting corners of world cinema. You wanna talk about range? This producer’s been in the game for decades, and her fingerprints are all over some real cult favorites. Take Only Lovers Left Alive from 2013—a vampire flick, sure, but not your typical blood-and-gore fest. Jim Jarmusch is at the helm, so you get this moody, dreamy love letter to music and art and, like, existential ennui. Tilda Swinton and Tom Hiddleston just vibing through centuries, haunting Detroit and Tangier. Honestly, it’s a whole mood. Then you’ve got Rak ti Khon Kaen (Cemetery of Splendour if you’re not up on your Thai), which dropped in 2015. Apichatpong Weerasethakul directed it, and if you know his stuff, you know it’s gonna get weird—in a good way. Soldiers falling asleep for mysterious reasons, a hospital that’s more dreamscape than clinic, and spirits just hanging around like it’s no big deal. It’s slow, hypnotic, and laced with political undertones. Not exactly popcorn fare, but it sticks with you. And then there’s Martin Eden in 2019. Italian cinema, baby! Based on the Jack London novel, it’s about a scrappy sailor who chases the high life and gets tangled up in the whole class struggle mess. Gritty, raw, and the kind of movie that makes you want to go read a book. Viola Fügen’s picks aren’t just movies—they’re experiences, each one totally different but somehow connected by a real love for pushing boundaries.