It is two thousand and sixteen. The world is coming to an end. God has retreated. There is nobody left to direct Faust. Mephisto walks into a bar ...
Audić's Mephisto does not attempt to bring down stereotypes of mythical excitement about two poles, nor does it attempt to establish them. In fact, it does not attempt anything. It enters the story of life of the human and divine spirit of protagonists directly and uncompromisingly. These protagonists are Damir Avdić and Grega Zorc. Mephisto and God. Patient and psychiatrist. Director and artist.
Mephisto, a fine member of society, has preserved his sense of humour despite great preoccupations with work. Of course, he is to blame for everything. For illness. Conspiracy. Manipulation. Nonsense. Absurd. Surrender. Revolution. Anarchy. Capitalism. Performance. Me. Him. ... He is, however, no longer sure about his supremacy. And this is what breaks him.
So he walks into a bar where he asks a mason to sell him his soul. He wants to get on his feet and ask God and man a few essential questions. Because both have to know the answers. Because man is God and God is man. From the surgery ...
Insofar as you lean too far to one or the other side of anything, insofar as you think that we need to communicate important things and foster an idea about the possibility of accurate transfer of information, insofar as you believe in the meaningfulness of relationships of human, divine or material nature, we ask you to see all that you are about to view today as a mere story, fiction that does not concern you personally in any way.
