A film and research project exploring loss and conditions for creativity through an embodied conversation with the composers Lili (1893-1918) and Nadia (1887-1979) Boulanger, filmed at the Bergman Estate on the Baltic Sea island of Fårö.

In seven days, seven women and their grown children make a piece of art about the ultra-talented sisters Lilia and Nadia Boulanger. The parts and the actors meld. The days pass as in a Tjechovian drama: scene after scene is rehearsed and filmed, between takes the ensemble grapple with everyday chores, financial crises, existential questions. When Lili dies, Nadia sinks all her compositions to the bottom of the sea, on an island in the Baltic Lili’s music is being recorded.Now and then, life and death, sorrow and hope reflected in each other.

The Sisters B. is an exploration of how to share experiences across time. How to probe moments that in retrospect may seem inconsequential to the shaping of a life trajectory or historical account, but which hold potential for connection, understanding, and dialogue beyond the cognitive – operating on an emotional and physical level.

The Sisters B. is research through filmmaking, research on filmmaking, filmmaking as research – there is a film being made, research methods created, and filmmaking methods explored. Both filmmaking and research are undertaken by combining two seemingly contradictory perspectives:
   The Montage perspective is one of critical distance achieved through collision, fragmentation, and juxtaposition of contrasting elements. As cinematic expression it invites complexity and shocks audience into active co-creation, in collaborative practice it allows friction between diverse experiences of disciplines and people.  
   The Embodied perspective is understood as acting on and through both environment and bodies, including but not limited to human bodies. Embodiment in cinematic expression is continuous, flowing, adhering to biological processes and laws of physics, allowing engagement in story and characters on emotional levels.

The project explores new applications of The BLOD Method. The script process aims for text that generates impulses rather than instructions when interpreted by its user through speech, sceneries, dance. A script that evokes kinesthetic reading, invite scenic displacements and temporal shifts, leave space for improvisation, unpredictability, and form experiments, while allowing an aesthetic to emerge from the conditions at hand. The creative potential of film editing is activated through juxtaposing and connecting fragments of past, present, and future in an oscillation between linkage and collision, using performance, music, and image composition to re-examine history writing from an embodied perspective.