Michael Wettstein


With Transcending - The Beginning of Josephine I wanted to tell a story that engages the audience in a way where they can contribute themselves to the adventure, and create situations where they have to confront themselves with their own reactions and questions about the human aspects that play into our everyday lives.

The story revolves around a couple that at the story’s starting point could represent most of us. They are trying to make a living, would love to live somewhere else, hope for a better job, start a family...

But when Karen sustains an accident and starts to suffer from intense nightmares and haunting visions, all of those everyday worries instantly become unimportant. It’s like when you complain about your income and worry about material stuff, but then suddenly you get a call and learn your kid was taken to the hospital. In those moments you understand that whatever you thought was a problem seems like nothing. That’s where the tale for this couple starts off.

It was very important to me that the starting point of this supernatural mystery is as close to reality as possible so the audience can immediately identify with the main characters.

To take those words from page to viewing pleasure, I built the story around a versatile and international cast on interesting locations fromNew Jersey to Switzerland. I chose a rather classic style for the film, especially for the second part in Switzerland, a huge contrast from our starting point.

I wanted to create this timeless place and create this atmosphere that could remind you of films from the old times, like Chinatown, or those of Alfred Hitchcock.

As the film explores those interesting questions about life and what might follow after it, I wanted to make sure the audience doesn‘t feel like some kind of viewpoint is forced on them. The majority of people would probably react like our protagonist Brandon does, and would be very hesitant to accept new beliefs. Even though the film offers a possible scenario as to what might happen to us when we die, it’s very likely that ten people who have seen the film will have ten different opinions about it in regard to what’s true to them.

And that‘s the idea, because the film’s main theme is “reality is a matter of perception.” It’s exactly that aspect that thrills me as a storyteller, that the film starts a dialogue that proceeds after the credits are over.

The audience will become witness to a phenomenon that will take them on a journey beyond the boundaries of life...

Michael Wettstein