In a performance unlike any other automotive presentation before, Lucid recently debuted the new all-electric Gravity in its orchestral Seven Suite showcase. Taking place at Berlin’s Tempodrom, it invited 14 film visionaries to experience the showcase directly from the car’s defining front trunk.

With the SUVs positioned around the orchestral ensemble, this unique frunk compartment – which opens up to provide a two-person seat – played a starring role in the performance. Striking a bold statement with a roomy space, the installation revealed how the car can be enjoyed for moments of entertainment, observation and, more importantly, thought-provoking conversation.

Exploring the frunk’s infinite possibilities, Hypebeast connected the featuring collective of film stars, directors and screenwriters for discussion on their own creative journeys. Inspired by Uèle Lamore’s cinematic scores, they touch on the nuances of performance and emotion in film, finding synergy between the screen and Lucid Gravity’s pioneering design sensibilities.

“Emotion comes as the first step, not the end result,” begins cinematographer Christopher Aoun in profound thought. Sitting beside Emmy-nominated actor Jannis Niewöhner, he touches on feeling as an integral part of the filmmaking process, leading him to craft polarizing scenes in films including All That’s Left in You. He adds, “I’m fed by uncertainty – whether things are going to be good or not – it’s about taking the time to trust the people I work with.”

While Aoun has grown to have more faith in his cast, globally celebrated actor and Cannes Best Actress winner Diane Kruger looks inward when working on a project, sharing, “You discover the vision that the director has, then you make it your own and try to create something that is in your mind.” For Alexander Fehling, best known for his role as Master Sgt. Wilhelm in Inglourious Basterds, he shares this process of reflection that starts with “losing yourself in the material,” whereas emerging actor Gustav Schmidt resorts to research, mentioning, “You have to dig into portraying a role.”

Meeting for the first time in the frunk are British-German actor Langston Uibel and Polish-French director Wero Rodowicz. After finding out how they’ve individually carved out spaces in the German film industry, they came to the conclusion that the success of any film is down to nurturing the experiences of those on set. Rodowicz says it’s about “taking care of people’s poetic gardens and thinking how we can contribute to them,” to which Uibel replies, “It’s nice to know you have your group of people that you want to learn from.”

In the same way that the Lucid Gravity brings you closer to new communities, “the magic of cinema,” as explained by Schmidt, “is in the power of connecting people from different places.” And, while the effects of a film are often considered from the audience’s perspective, Dutch actor Gaite Jansen reflects on what it feels like to be an actor in front of the camera. “Through searching for those places where things get exciting, dangerous, and you lose control, that’s when you find out what it feels like to be human,” she says. “I enjoy life a little bit more because I’m allowing myself to feel everything.”

From trusting the journey to stepping outside your comfort zone, the conversations between fellow film visionaries show that there is more than one parallel to be drawn from the seven-seater SUV and the silver screen. But, as Rodowicz puts it, the two worlds are ultimately born from “creating spaces where you can slow down for a moment and access your feelings.”

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Be sure to explore the Lucid Gravity on the brand’s website now.