MARTER is a short film that impresses with its ability to make history breathe through the skin of its characters as well as through its dates and costumes. Set in 1622, the film follows Badria, accused of witchcraft for a crime she may not have committed, with an intensity that oscillates between dream and nightmare. Christian Alsan does more than portray the persecution of a woman: he constructs an atmosphere where faith, fear, and power become tangible entities —almost characters in their own right.

The sound design by Sebastian Müller and Philipp Brauer and the original score by Patrick Zahn immerse the audience perfectly in the mood of the story.
The performances, especially Julia Obst’s, are intense and consistently believable, supported by Alsan’s assured direction.
Cinematography by Kaspar Hornikel is one of the film’s strongest assets: the dark palette of blues and greys adds depth to the compositions and enhances the movement of the camera.
Costumes and historical sets—an inherently difficult task—are refined and well executed under the guidance of Teresa Grosser for the Costumes and Denise Baron for the Production Design.

What makes MARTER truly remarkable is its stripped-back aesthetic: no unnecessary embellishment, no concession to historical baroque, but a meticulous attention to light, framing, and silence. Empty spaces and long shadows amplify every breath and every hesitation, turning the camera into an invisible judge. The frustration and anger that sparked the project are palpable in every detail—from the trembling hands of the protagonist to the rawness of the dialogue—giving the film an almost physical force.

The short also reflects contemporary dynamics: the same power structures, manipulation, and social pressure that once crushed dissent echo strongly today. Alsan poses a simple yet piercing question: how far are we willing to go to remain true to ourselves? And he does so without captions or moralizing, leaving the weight of the answer on the viewer.

Remarkably, MARTER—though independently produced—shows none of the limitations usually associated with low-budget filmmaking. Every visual choice and every performance convey purpose and cinematic precision.

Ultimately, MARTER is not just a historical drama but a visual cry—an exploration of silence, guilt, and resilience. It lingers like a scar of memory, confirming Christian Alsan as a filmmaker capable of transforming short cinema into something almost ritualistic, both aesthetically and emotionally.

For all these reasons, MARTER won Best Director Short Film, Best Drama, and Best Cinematography at the Amsterdam New Cinema Film Festival, October 2025 Monthly Competition.

MARTER marks the debut short film of the talented Christian Alsan, and we look forward to his next work.
Congratulations to the entire cast and crew.