The dark-electronic project Schwarzer Tag, created by father-and-daughter duo Ralf and Eva C. Petersen, transforms poetry, mythology, and symbolism into haunting audiovisual experiences. Their award-winning music video for Leave, O leave me to my sorrows, inspired by William Blake’s poem, explores themes of longing, sacrifice, fate, and human vulnerability. Drawing influence from Dante, Greek tragedy, Roman mythology, and opera, the filmmakers create works that prioritize atmosphere and emotional depth over commercial expectations. In this interview, they discuss their artistic philosophy, creative collaboration, and the enduring power of tragedy in contemporary visual storytelling.

WILLIAM BLAKE'S POETRY CARRIES A DEEPLY EMOTIONAL AND SPIRITUAL ATMOSPHERE. WHAT SPECIFICALLY DREW YOU TO LEAVE, O LEAVE ME TO MY SORROWS AS THE FOUNDATION FOR THIS MUSIC VIDEO?

William Blake is definitely one of our favourite and most frequently used poets. His poems are as profound as they are powerful, and in the 18th century he was far ahead of his time. This short poem always reminds Eva and me of the myth of the nymph Echo and her tragic love for Narcissus from Ovid’s Metamorphoses. Love is invariably intertwined with involuntary self-sacrifice—a theme we are very fond of exploring.

GLUTTONY, LONGING, MELANCHOLY, AND LUST APPEAR AS PHYSICAL MANIFESTATIONS. HOW DID YOU APPROACH TRANSFORMING ABSTRACT EMOTIONS INTO VISUAL CHARACTERS?

The art project Schwarzer Tag, which mainly consists of my daughter Eva C. Petersen and me, is deeply rooted in literature, philosophy, and theatre. The strongest visual associations for some of these characters can be found in Dante Alighieri’s Divina Commedia. It is a poem rich in Christian symbolism from the late Middle Ages and remains an important source of our visual language.

DARK-ELECTRONIC MUSIC OFTEN CREATES A HYPNOTIC EMOTIONAL SPACE. HOW DID THE MUSIC SHAPE THE PACING AND VISUAL RHYTHM OF THE FILM?

As a musician, I already form strong emotional associations during the production of a musical track—associations that I can deepen on another level through film. I mostly use electronic and natural instruments in our music. This time, the basic rhythmic pattern came from a marimba, a kalimba, and a slit drum, whose patterns of varying lengths overlap in a polyrhythmic manner similar to Minimal Music.

Underpinned by an 808 bass, the poem, and a free-form electronic solo on the Kaoss Pad in the middle of the track, the music becomes a superimposition of simultaneously occurring actions that influence one another. Since I also edit the film, its rhythm is inherently my own from the very outset. The restless camera work and rapid cuts—which violate every cinematic rule—are also an essential part of the relationship between image and music.

THE FOREST FEELS LIKE A METAPHOR FOR THE HUMAN MIND. WAS THAT INTENTIONAL?

That’s a great association. I like it very much. However, it can just as easily be a metaphor for the thicket of life. In my understanding of art, it should leave the greatest possible scope for interpretation and association. The profound truths of the subconscious are linked to different ideas and images within every individual.

I view engagement with a work of art as a creative and deeply personal act. The artwork serves as a vessel into the deeper layers of each self.

THE IDEA OF PURSUING AN UNREACHABLE IDEAL FEELS UNIVERSALLY HUMAN. DO YOU THINK LONGING ITSELF CAN SOMETIMES BECOME DESTRUCTIVE?

The statement contained in most of my films is that, from the very beginning, the protagonist has no possibility of evading their fate. Longing is merely the engine that drives them toward the inevitable. In the end, we will all be destroyed someday.

AS BOTH DIRECTOR AND PRODUCER, HOW DO YOU BALANCE ARTISTIC AMBITION WITH PRACTICAL PRODUCTION REALITIES?

That is a good question—one that gives me the opportunity to shed more light on the core of the Schwarzer Tag project, namely the collaboration between Eva and me.

I typically serve as the source of ideas and creative impetus for a project. When it comes to actual realization, however, Eva takes charge of planning, structuring, and execution. I have immense respect for her competence. She briefs everyone involved and handles coordination and scheduling. Furthermore, she is responsible for makeup, props, and many other things that I often only notice once we are on set.

Absolutely amazing. And that’s not even mentioning her artistic influence. By the way, she is a real expert in cooking fake blood—with different flavours and, of course, vegan upon request.

MUSIC VIDEOS TODAY ARE OFTEN CONSUMED VERY QUICKLY ONLINE. HOW DO YOU CREATE WORK THAT INVITES AUDIENCES TO SLOW DOWN AND INTERPRET SYMBOLISM MORE DEEPLY?

The founding of Schwarzer Tag stemmed from our need to have a project where we could realize our vision without regard for commercial viability or reach. For this reason, we are particularly delighted to have been honoured with the Europe Music Video Award.

Given the uncompromising honesty of our work, we are prepared not to be understood by many. Yet, we feel a strong connection to those whom our art touches.

MANY CONTEMPORARY FILMMAKERS AVOID TRAGIC ENDINGS. WHY DO YOU THINK TRAGEDY STILL REMAINS IMPORTANT IN VISUAL STORYTELLING?

Beautiful question! Thank you for that.

In our storytelling, we are strongly influenced by ancient Greek tragedy, Roman mythology, and classical opera. Even though we are very happy people living our best lives, we want to show things that others do not.

With Schwarzer Tag, we wish to look the sole certainty of life fearlessly in the eye and declare without bitterness:

Life is a tragedy—may our art bear witness to it.

WHAT ATTRACTS YOU MORE AS A DIRECTOR — ATMOSPHERE OR NARRATIVE?

This question, too, touches upon the very core of the collaboration between Eva and me. For me, it is unequivocally the atmosphere; for Eva, it is absolutely the narrative.

This is how we develop our films: I describe the atmosphere, the message, and the basic plot to her, and she develops the screenplay and shapes the characters.