"Maze D’Or"
The movie & interview with Klaus Liebster, the director

Interview with Klaus Liebster, conducted by ND

ND: Klaus, thank you for agreeing to this interview. Let’s begin with your latest project. Maze D’Or is a highly ambitious film, and it has already attracted attention at several international film festivals. What inspired you to create this piece?

Klaus Liebster: Thank you for your interest. Maze D’Or was born from my personal reflections on life, art, and the creative journey that I accumulated over years of work as both a musician and a photographer. After the breakup of The StarBast and my work in some of the harshest environments, where I witnessed war and suffering firsthand, I felt a deep need to explore how we find ourselves amid chaos. As an artist and as a person, I felt lost in my own maze, and that metaphor became the central theme of the film.

ND: Maze D’Or has been showcased at various festivals, including the 6th Colortape International Film Festival in Australia, the Tagore International Film Festival in India, and the British International Amateur Film Festival in the UK. How did you react to the feedback from the judges?

Klaus Liebster: The feedback was extremely valuable, especially the criticism. Some judges pointed out that the film might be too long, and I agree — it was a challenge for the audience. But it was important for me to maintain that multilayered complexity because Maze D’Or isn’t just a film; it’s a journey that needs to unfold slowly for the viewer. That said, I realize there were moments where it could have been more concise.

ND: One judge mentioned that the film "raises more questions than it answers." Do you like that approach?

Klaus Liebster: Absolutely. I’ve always believed that art should provoke questions. Maze D’Or doesn’t offer a simple answer to the question of what the maze is — is it our mind, is it life, is it art? I wanted the audience to find their own answers. The film is more of a challenge for perception than a traditional narrative.

ND: The film has also been screened at the Munich Music Video Awards and the Stockholm Film & Television Festival. How did it feel to participate in such diverse competitions?

Klaus Liebster: It was an amazing experience. Each festival brought something new to how the film was perceived. At music festivals, audiences often reacted to the soundtrack and the visual rhythms, while at art festivals, more attention was given to the film’s philosophy and structure. I enjoyed seeing how different audiences engaged with Maze D’Or, which made me more aware of how varied the responses to a single creative project can be.

ND: The film clearly reflects your experience as a photographer. Did your career as a war photographer influence the visual style of the film?

Klaus Liebster: Without a doubt. Every frame in the film is an attempt to convey the density of a moment, something I tried to capture in my photography. Working as a war photographer taught me to find beauty even in the darkest places. The weight of what I saw through the camera lens seeped into this film. It’s like visual poetry, born from pain but also striving toward understanding and cleansing.

ND: As the festival judges mentioned, you experimented with editing, colors, and rhythms in the film. What were you trying to convey with those choices?

Klaus Liebster: I’ve always believed that editing is like music. It should capture a rhythm that guides the viewer through a maze of emotions and events. In Maze D’Or, I played with color and pacing deliberately, creating visual metaphors that reflect confusion, fears, and hopes that I personally experienced. Some viewers might find it overwhelming, but for me, it was the only way to convey the depth of the inner experience I wanted to express.

ND: Considering that the film has been recognized at various festivals, what has been the most meaningful part of receiving these awards and nominations?

Klaus Liebster: For me, the most valuable thing has been the recognition that the film sparked discussion and reflection. I knew that Maze D’Or was something unusual, something that might be hard to grasp. But when I learned that festival juries were discussing it with such attention, it was proof that the film achieved its goal — to make people think.

ND: What’s next? Do you plan on making more films?

Klaus Liebster: Yes, I’m always on the lookout for new ideas. Maze D’Or opened up many new themes for me, which I’d like to explore further. I’m in no rush because I know that art takes time, especially if you want to say something truly important. I think my next project will be even more personal.

ND: Thank you for this candid interview. We look forward to your next project.

Klaus Liebster: Thank you, this has been a long journey for me, and I’m glad I could share it with you.