“Über-comedy sounds pretty good.” | Elyas M’Barek on “The Perfect Secret”

He is one of the few stars of German cinema. With the “Fack Ju Göhte” trilogy, Elyas M’Barek, 36, reliably attracted millions as the cool supply teacher Zeki Müller. The son of a Tunisian father and an Austrian mother, his first appearance was while he was still at school in “Mädchen, Mädchen”.

For his role in the ARD series “Turkish for Beginners” he received the German Television Award. After the historical epic “The Physician”, the thriller “Who am I”, the satire “Welcome to the Hartmanns”, and most recently the political thriller “The Collini Case”, M’Barek now returns to cinemas in the comedy “The Perfect Secret”—conceived and directed by “Fack Ju Göhte” creator Bora Dagtekin. Elyas M’Barek spoke to [030] contributor Dieter Oßwald.

Mr M’Barek, isn’t the film poster missing a warning notice: “For risks and side effects, consult your couples’ therapist”? 

Not just the couples’ therapist! (Laughs) “The Perfect Secret” isn’t just about relationship problems, but about friendships and the question of what friends are allowed to know about you. How much truth can a relationship handle?

Would you recommend trying out the game from the film in real life? 

No, I can only strongly advise against that. I certainly wouldn’t take part in such a game in real life! You really should avoid such mobile phone experiments.

On Facebook, you wrote that the film is an “über-comedy”—what led to that new coinage?

Über-comedy sounds pretty good, really. And it accurately describes how “The Perfect Secret” is the best comedy you’ll see in the cinema this year. There won’t be a funnier film in 2019! Especially as it contains so many twists and surprises. The film gets more hair-raising and unnerving by the minute. At some point you’re thinking: please, God, don’t let another mobile phone ring! Anyone sitting in the cinema can be glad and grateful that they’re only watching, and not part of this circle of friends.

After your foray into serious territory with the political thriller “The Collini Case,” you’re returning to comedy. Is it more relaxed not to have the burden of responsibility that comes with a drama based on true events?

For me there’s no difference; the shooting is the same. Even “The Perfect Secret” definitely has its serious moments, and even sad scenes. It’s not slapstick, though you really can laugh a lot. But the big drama isn’t neglected any more than the big love story. I don’t really worry much about genre, anyway—what matters for me is whether I would want to see the film myself at the cinema. 

“The Collini Case” was very well received by both audiences and the press and is now getting a cinema release in the USA. A German Film Award wouldn’t be out of the question, then?

What matters to me is that the film turns out well and finds its audience—which, thank God, it has.

How funny was the shoot? Do spontaneous bursts of laughter cause scenes to be scrapped, or is that business as usual for actors?

There have certainly been plenty of moments when we laughed a lot during filming and had to reshoot scenes because of it. When seven actors are sitting at a table, mistakes, laughter, and slipping up are inevitable. But that’s all part of it; after all, you need to keep your energy up on set. If it was all doom and gloom, it’d be difficult to bring energy into the scenes.

Director Dagtekin has said that he shot scenes more often than usual in order to have a wider choice when editing. How did that affect the work?

When seven actors are sitting around a round table, the director naturally wants a wide variety of angles and perspectives, which drags things out. On average, we filmed one scene a day. That’s unusual for actors and it requires extra concentration if you’re repeating the same lines and biting into the same piece of lasagne from morning till night.

Is there a little competition over who gets the biggest piece of lasagne?

No, it was more a competition to see who had to eat the least! (Laughs) If you load your plate up too much in the morning and still have to eat from it in the evening, you eventually feel rather full.

Are there any lines with classic potential, like “Chantal, cry quietly!”?

I don’t know. You can’t predict that in advance—the audience decides. No one expected that reaction to “Chantal, cry quietly!” either.

How great is the temptation to check your friends’ or partner’s mobile?

None at all—I wouldn’t want to do that. Simply because you wouldn’t want to get hurt yourself. There are good reasons why some things should just stay secrets—they’re not meant for you. Some things sound much worse out of context than they actually are. This kind of brutal openness would only hurt everyone involved.

Is absolute honesty the wrong basis for a relationship or friendship?

Little secrets are absolutely important. You can’t just lay everything on everyone, all the time. If you constantly said everything that ran through your head, that could easily hurt someone. I think it’s much better if the other person doesn’t have to know everything and you’re not mercilessly honest. Not everyone needs to know that their hairstyle doesn’t suit them or that their new shoes are totally hideous. 

Do little white lies have long legs?

If it would hurt the other person, then a white lie is justified. But on the whole, you should be honest with each other, and avoid keeping secrets that would harm the other person. For me, it’s dishonest to hide things the other person really needs to know. Lying is far from nice.

Your co-star Florian David Fitz was asked on a talk show whether he’d rather give up his mobile or give up sex. How would you answer that?

I think that’s generally too private a question.

How long could you go without your smartphone?

Why should I go without my smartphone? I’m actually quite happy I can use one. There are moments when I consciously put it aside, but generally I wouldn’t want to do without it—it’s just too practical.

Bora Dagtekin has a knack for comedy like hardly anyone else in German cinema. What sets him apart?  

Bora observes and listens very closely. He has his finger on the pulse and finds topics that appeal to a wide audience, which he conveys authentically in his films. Bora works with real focus. When he gives instructions, I can trust, without needing a lot of words, that the scene will work out well.

You have a long-standing friendship in private. How does that affect working together?

We keep things completely separate. On set, the roles are clearly assigned—Bora is the director, and I’m an actor. We’re not acting as friends during filming. Which isn’t to say I can’t chip in with ideas—I’m not incapable! (Laughs).

More and more actors are moving into directing. Would that not appeal to you?

I’d definitely be up for stepping behind the camera one day, if I have the right idea—but all in good time, there’s no need to rush!

“The Perfect Secret” is currently in cinemas.

Photo: © Lucia Faraig / Constantin Film Verleih GmbH