Halina Dyrschka is a director and producer. After studying acting, classical singing, and film production, she founded the company Ambrosia Film. The first film she directed, the short “9andahalf’s Goodbye,” was shown at over 40 film festivals worldwide and has won several awards. “Beyond the Visible – Hilma af Klint” marks Dyrschka’s feature documentary directorial debut. It is the first and only film about the Swedish artist Hilma af Klint.

Kino Marquee will host virtual screenings of “Beyond the Visible – Hilma af Klint” beginning today, April 17. Find specific online screening info here.

W&H: Describe the film for us in your own words.

HD: “Beyond the Visible – Hilma af Klint” is not only the story of an artist’s work and life, it also explores theosophy, quantum physics, spirituality, and the art world. Mainly it shows how one can create her own individual life in a very independent way, asking the most profound question: What are we doing here on this planet?

W&H: What drew you to this story?

HD: The first time I saw Hilma af Klint’s paintings in exhibition, they took my breath away. But I felt almost personally insulted when I realized that those paintings had been hidden from me for so long. The explanations for that were not acceptable; the arguments were pathetic.

It was immediately clear that many people must have intentionally ignored this artist — not just because she was a woman, but also because she was spiritual. It seems we still see a woman who is spiritual as a witch, while, at the same time, we celebrate spiritual male artists as geniuses. I thought that was outrageous and I wanted to address that in the film.

During my research, I discovered a human being with a strong character who was trying to find meaning in her life, and was following her very own path. Hers is a biography that does not look like other biographies. I find those stories are rarely told.

W&H: What do you want people to think about after they watch the film?

HD: This past year, during “Beyond the Visible’s” festival tour, I had the most wonderful experiences with audiences around the world. People are deeply touched by Hilma af Klint’s work and, more importantly, by her thoughts and the questions her work provokes. The cosmos of her art describes nothing less than our life here on this planet and our connection to the universe.

So, I hope people go home and ask themselves if they are really focusing on the important things in life. If you are brave enough, you can encounter yourself in af Klint’s oeuvre.

W&H: What was the biggest challenge in making the film?

HD: Nobody was interested in financing this project because they did not know the artist — again, a very poor argument. And in the beginning, nobody really trusted that the project would become a film because I only had three photographs of my protagonist when I started.

Also, I had the feeling that there was no trust from the people in the film business. I really hope it had nothing to do with me being an unknown director making a film about quite an unknown artist. But in the end, I was lucky.

W&H: How did you get your film funded? Share some insights into how you got the film made.

HD: The filmmaking process in Germany is quite different than that of the U.S. We have a film funding system, nevertheless it is still harder for women to get funding — especially when you have your own production company, like me, and do not have one of the bigger studios behind you.

Since last year, funders were required to disclose how many women they supported. Since then the quota is getting better.

I did find, in the end, the support of some of the smallest German funders, the ones who don’t have a lot of money — which is also very typical for women directors. But I got just half of the budget I needed. We were able to just make the film with private money/sponsors, and with my team working for less than their normal salaries. We also had a very small team because we could not afford every position, so me and my producer, Eva Illmer, had to cover these positions ourselves.

In the end, it was all worth it because making this particular film was a truly important time in my life. Of course, I would have preferred to have the whole calculated budget. And I want the whole budget for my next film!

W&H: What inspired you to become a filmmaker?

HD: As a child, I loved films and especially old films, classics. I saw Fred Astaire and Ginger Rogers dancing; I loved the films with Romy Schneider, and French films, especially from Claude Sautet or François Truffaut; and I was absolutely speechless when I saw James Dean on-screen for the first time.

After working as an actress, I discovered that I wanted to be the one who starts and develops a project, and I wanted to be the one who makes the creative decisions.

W&H: What’s the best and worst advice you’ve received?

HD: The best and worst: “Don’t do it.”

In the end, I always like to get another opinion because then I [have a clearer idea of] what I want. You have to choose the people to listen to, the people whose criticism or praise matters to you.

W&H: What advice do you have for other female directors?

HD: Be aware of the latent discrimination you could encounter. If you are aware of it, then address it out loud immediately. We need more women directors, and we need to make clear that we are aware that there are still not enough female directors.

W&H: Name your favorite woman-directed film and why.

HD: Lately, it’s Céline Sciamma’s “Portrait of a Lady on Fire” — it’s a truly brave film.

One of my most beloved films is Gillian Armstrong’s “Little Women.” It’s a heartwarming, congenial adaptation. It draws every female character in a strong and individual way.

I discovered Ida Lupino a few years ago; her films are a revelation. The topics of her films are outrageously brave, and the acting is natural. It shows that, even in early Hollywood, a female director could succeed by following her own vision.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

HD: Of course, I am keeping creative. Creativity is never stopped by anything and fear is never a good companion. I tend to look at things from a spiritual perspective, because when I look at reality, I think we still have a lot to learn.