Conversation NL
22.06.2022

“Enerzijds vereist die enscenering een grote discipline, een soort tirannieke opbouw. Maar vanaf het moment dat het een automatisme geworden is, doe ik niets meer. Bij de opnamen regisseerde ik de acteurs niet meer, tenzij het om minieme technische veranderingen ging. En dan komen er inderdaad hele spontane, directe zaken, die ze op het moment van opname zelf uitvinden, of improviseren. Ze lossen de problemen die ze tegenkomen dan op met hun eigen middelen, waardoor het direct, authentiek overkomt. Ik laat ze vrij op het moment van de opname, en ze geven dus hun eigen ritme aan.”

Conversation NL
8.06.2022

Eind 1991 verscheen het eerste nummer van Trafic, het testamentaire geesteskind van de vorig jaar overleden criticus Serge Daney. Voor Daney vormden “wereld” en “cinema” een onlosmakelijk geheel. (...) Met Trafic wou hij onderzoeken of vanuit cinema opnieuw een kritische distantie ontwikkeld kon worden. (...) Een gesprek met drie van de vier redactieleden: Raymond Bellour, Patrice Rollet, Jean-Claude Biette, beheerders van een zware erflast. Rollet: “We vertrekken vanuit de overtuiging dat de film moet blijven bestaan omdat ze een unieke ervaring is en blijft. Indien de film zou verdwijnen zou een deel van de mensheid verdwijnen want de cinematografische ervaring kan niet worden omgeschakeld naar een andere.”

Conversation EN
25.05.2022

Helke Misselwitz (1947) distinguished herself as a documenter of lives in disarray and utmost ordinariness with great warmth in the years around German reunification. What is vividly clear in her first feature-length documentary, Winter Adé (1988), which sees the filmmaker travel the country by train one year before the fall of the Berlin Wall, is the interest in women’s societal and social roles in particular. Misselwitz: “I think every life is worth telling. It’s just that not all people can tell interesting stories about it. One becomes a kind of helper. You help to describe the lives of others.”

Conversation NL
25.05.2022

A Strange Love Affair (1985), de meest narratieve film van Eric de Kuyper, is een liefdesverhaal tussen een student en zijn veertigjarige professor in filmstudies (zoals De Kuyper destijds zelf was), gespecialiseerd in Hollywooddrama’s. Eric de Kuyper: “We willen dat de toeschouwer zich beelden, of een sfeer herinnert uit de film. Ik ben ook criticus geweest, en je ziet zoveel films waar je je achteraf geen beeld meer van herinnert. Ik dacht dan, als ik films maak, dan moeten de mensen zich er toch nog enkele beelden van herinneren. Zodat er toch nog iets overblijft. Dàt moet cinema zijn: je moet beelden overhouden. En dat is de kracht van grote cineasten: dat ze je beelden inprenten zodat je twintig jaar later nog altijd kunt zeggen: ‘lk heb die film gezien.’”

Conversation NL
25.05.2022

Na in 1983 te debuteren met Casta Diva maakte Eric de Kuyper in 1984 meteen Naughty Boys, een film die hij zelf omschreef als “a sad musical comedy” en waarin hij hulde brengt aan de oude musicals en komedies. De Kuyper: “Naughty Boys heeft iets anachronistisch, iets ouderwets, iets blasé. Maar die musicals, die stukken toen hadden die langdradigheid, die verveling niet. Het was een uitdaging om met gevoelens van nu in een genre van toen iets te vertellen... alsof een Antonioni een musical zou maken...”

Conversation NL
25.05.2022

Casta Diva was de debuutfilm van de Belgische filmcriticus/docent/academicus/televisieproducent en -programmator Eric de Kuyper, een film die in 1983 internationaal meteen werd opgemerkt. De Kuyper: “Het is een moeilijke film omdat het moeilijk is om aandachtig naar eenvoudige beelden te kijken; je bent met zeer elementaire cinema bezig, met beeld en geluid (muziek). Hoe minder je in werking zet bij film, hoe eenvoudiger het wordt maar hoe meer inspanning je van de toeschouwer verlangt omdat het bijna Art brut is, bijna naïef. Eigenlijk nodig ik de toeschouwers uit om hun kijkgedrag te wijzigen.”

Conversation NL
11.05.2022

Na zijn debuut Casta Diva (1982) leverde Eric de Kuyper in 1984 Naughty Boys af. Een nieuwe film van de Belgische regisseur die tot dan toe vooral actief was geweest als televisieproducent- en programmator, schrijver, docent en onderzoeker. “Ik weet uit ervaring hoe veel andere mensen films maken of gemaakt hebben en ik had voor mezelf besloten: nou, op die manier maak ik vast geen films! Alleen wist ik niet zo meteen hoe eraan te ontsnappen. Maar voor mij, zoals ik eerder ook al aangaf, is een film maken een soort feestje, een soort plezierige samenwerking van verschillende mensen die graag met elkaar werken. En dat is de basis geworden.”

Conversation NL EN
6.04.2022

This year, the American film director Gus Van Sant created his first stage production called Trouble, a musical about Andy Warhol. On the occasion of the premiere in De Singel in Antwerp, Sabzian has a conversation with Van Sant to talk about four films that marked a period of formal experimentation in his oeuvre: Gerry (2002), Elephant (2003), Last Days (2005) and Paranoid Park (2007). Gus Van Sant: “The blocking itself is the main feature of the scene. When you’re using a storyboard, you’re adapting the locations and the actors to the storyboard, which is already fixed when the characters come in the frame. This is the main reason I started to work without a storyboard because the characters can work the scene better. They can make things happen within that timeframe as opposed to working with single shots.”

Conversation NL EN
6.04.2022

De Amerikaanse filmregisseur Gus Van Sant maakte vorig jaar zijn eerste theaterproductie, Trouble, een musical over Andy Warhol. Bij de première van het stuk in De Singel in Antwerpen sprak Sabzian met Van Sant over vier van zijn films die samen een periode van vormelijk experiment betekenen binnen zijn oeuvre: Gerry (2002), Elephant (2003), Last Days (2005) en Paranoid Park (2007). Gus Van Sant: “Het afbakenen is het belangrijkste kenmerk van een scène. Wanneer je een storyboard gebruikt, pas je de locaties en de acteurs aan aan het storyboard, dat al vastligt wanneer de personages in beeld komen. Dat is de belangrijkste reden waarom ik zonder storyboard ben gaan werken, omdat de personages dan beter in de scène zitten. Ze kunnen dingen laten gebeuren binnen een tijdsbestek en dat lukt niet wanneer je met losse shots werkt.”

Conversation NL
16.02.2022
Zach Sokol 2021
Vertaald door

John Wilson is een documentairemaker en voormalig privédetective. Zijn idiosyncratische manier van verhalen vertellen navigeert door zijn eigen neuroses en vat tegelijkertijd de uitgestrekte essentie van New York en haar inwoners.  Wilson: “Zelfs in de meest nauwkeurige narratieve voorstellingen van New York City is er precies nog steeds iets dat ontbreekt. (...) De stad zelf biedt al de rijkste taferelen op de planeet. Het feit dat mensen het vervolgens verdunnen met kunstmatig spul is jammer. Ik wil zoveel mogelijk van New York filmen omdat dingen hier zo snel verdwijnen. Die impuls is nooit echt weggegaan.”

Conversation NL EN
9.02.2022

Gerard-Jan Claes and Olivia Rochette’s new, long documentary, Kind Hearts, follows Billie and Lucas, a young couple from Brussels. Once again, connection through exchange is central. (...) Exchanging views is a dynamic process for them in which observation is central. With great attention and dedication to detail, they capture the adolescent lives without wanting to leave their mark on them. In this way, reality unfolds within a carefully composed cinematic space. Rochette: “Films can be very manipulative. We try to make films that offer an open space rather than a trajectory with clear reference points for emotions or interpretations.”

Conversation NL EN
9.02.2022

Gerard-Jan Claes’ en Olivia Rochettes nieuwe lange documentaire Kind Hearts volgt Billie en Lucas, een jong Brussels koppel. Ook hier staat verbinding door uitwisseling centraal. (...) Met elkaar van gedachten wisselen is bij hen een dynamisch proces waarbij observatie centraal staat. Met een grote aandacht en toewijding voor detail wordt het leven van jongeren vastgelegd, zonder er een stempel op te willen drukken. Zo ontplooit de realiteit zich binnen een zorgvuldig gecomponeerde filmische ruimte. Rochette: “Films kunnen heel sturend zijn. Wij proberen films te maken die een open ruimte bieden in plaats van een parcours met duidelijke referentiepunten voor emoties of interpretaties.”

Conversation FR EN
22.12.2021

A.I. at War n’est pas un film de guerre comme j’ai pu en tourner. Je ne cherche pas tant à filmer la bataille que le symbole de la destruction et de la dévastation. Pour moi, l’atmosphère apocalyptique est une métaphore de notre humanité actuelle.

Conversation EN
1.12.2021

In 2018, Wang Bing stayed in Ghent as an “Artist in Focus” in the context of the Courtisane film festival. In the margins of the festival, students and former students of the KASK School of Arts Ghent invited Wang Bing to talk about filmmaking and to cook noodle soup with dumplings together. The director kindly agreed. The conversation that followed was shaped and guided by film fragments shown in between the questions. (...) The following text is an edited transcription of a part of this conversation and deals with filmmaking from the position of the filmmaker.

Conversation NL
24.11.2021

Twee weken geleden overleed de Belgische producer, regisseur, televisiepionier en presentatrice Annie Declerck (1934-2021). In 1997 spraken Marianne Van Kerkhoven en Pascal Gielen met Annie Declerck voor het theatertijdschrift Etcetera. Vier decennia lang heeft zij (theater)kunstenaars geïnterviewd en hun werk gefilmd, eerst voor het NIR, dan de BRT en nog later de BRTN. Zo groeide een indrukwekkend beeldarchief dat ons in het buitenland wordt benijd. Zal de ‘VRT’ het belang van dat archief erkennen? Kan er nog verder beknibbeld worden op de culturele berichtgeving bij de openbare omroep?

Conversation EN
17.11.2021

Michael Mann was one of the first filmmakers working in Hollywood to embrace the digital. After earlier experiments with HD in Collateral (2004) and Ali (2001), Mann resolutely opts for the digital format in his 2006 Miami Vice. In this interview, Miami Vice’s cinematographer Dion Beebe explains that the choice of digital came not from practical concerns but through an experimental search, guided by Mann’s intent of the film. The interview bears witness to this turning point in film history where digital cinema still had to come to terms with itself, still had to start believing in its own possibilities.

Conversation EN
21.07.2021

Atteyat Al-Abnoudy’s definition of documentaries is simple and all-encompassing: “No script, no actors, no direction. The cameraman follows the subject.” (...) “What I want,” says Al-Abnoudy, leaning forward to make the point, “is a Déscription de l’Egypte on film.” Layers and layers of thick description that would make Clifford Geertz happy, testimonies from people rarely heard from, images of daily struggles to survive, dreams deferred but not forgotten.

Conversation EN
21.07.2021

We listen to Atteyat Al-Abnoudy speak in a loud voice about her vision for art, life and reality; and we get to know her inimitable, riotous character in return. Atteyat Al-Abnoudy: “I don’t care for the prizes as much as I care for my films to be shown in my own country, because I am offering pure Egyptian cinema to the Egyptian people, and I am addressing the existence of the authentic Egyptian human. Regardless of how many prizes I win around the world, their entire sum is not as worthy as one single glance of a pair of Egyptian eyes that give my films their glory and true worth.”

Conversation EN
21.07.2021

“I look at life in a poetic way. I love to live and I think that poor people in my country are all doing their best to work and to create life. I try in all my films to convey this love of life, even if the people live in very poor conditions. I treat them with great respect. I love to see their faces on the screen. I come from the working class, but film is a middle-class medium, so you have to be strong in order to maintain your relationship to your class. Otherwise you are lost.”

Conversation EN
21.07.2021
J.-F. Camus 1973
Translated by

Atteyat Al-Abnoudy, a young Egyptian filmmaker, has won the Grand Prix du film documentaire in Grenoble and the International Federation of Film Critics prize for Horse of Mud. And for her film The Sad Song of Touha, she has won the Novais Teixeira prize: a prize founded in memory of our colleague who died last year and who was much loved by French critics. We met Atteyat Al-Abnoudy before she was awarded these important prizes, important for the direction she wishes to give to her work. Al-Abnoudy: “When I start a film, I don’t think about its form. When I became friends with the people in the factory, the only way for me as a filmmaker to express my feelings for them was to make a film.”

Conversation EN
21.07.2021

“I don’t want to make films because of some beautiful subject or because there’s something fascinating me in the colours or anything like that. It’s at least 50 years now making films in Egypt and always we see on the screen lovely houses and lovely hills, the decor and other fantastic things for us. But the poor people and the working class are not on the screen, when they have the right to be.”

Conversation FR EN
14.07.2021

Je savais déjà qu’on ne fait pas tourner comme ça du jour au lendemain des gars qui ne sont pas des comédiens. Surtout quand tu veux faire un long métrage. Et là, je me jetais dans un long métrage parlant. Des copains m’avaient dit : « Méfie-toi ! » Je leur répondais : « Merde ! Flaherty a bien tourné Nanouk, il a bien tourné Moana ! » « Ah oui, d’accord, mais c’est du muet ! Toi, tes paysans, quand ils vont ouvrir la bouche, tu vas voir, ce sera la catastrophe. » J’ai quand même tenu bon. Bien sûr, on ne peut pas leur faire jouer Le Cid ou Hamlet... Tu es obligé de leur faire jouer une chose qui leur tient aux tripes.

Conversation NL EN
7.07.2021

In the series ‘One Spectator Among Others’ Herman Asselberghs and Gerard-Jan Claes invite various passionate film lovers to elaborate on their viewing practice by email. Filmmakers, artists, critics, researchers, authors, programmers, cinemagoers, TV enthusiasts, Netflixers, YouTubers, torrent users... After the first instalment with Herman Asselberghs, we continue the series with Rebecca Jane Arthur, a Scottish visual artist, living in Brussels. She is co-founder of elephy, a production and distribution platform for film and media art based in Brussels.

Conversation NL EN
7.07.2021

In ‘Een kijker onder de anderen’ laten Herman Asselberghs en Gerard-Jan Claes via e-mail allerlei gepassioneerde filmliefhebbers uitvoerig aan het woord over hun kijkpraktijk. Filmmakers, kunstenaars, critici, onderzoekers, auteurs, programmatoren, bioscoopbezoekers, tv-fanaten, netflixers, youtubers, torrentgebruikers,… Na de eerste aflevering met Herman Asselberghs zetten we de reeks voort met Rebecca Jane Arthur, een Schotse beeldend kunstenares die in Brussel woont. Naast haar artistieke praktijk werkt Arthur als producent, schrijver, copy-editor en vertaler. Ze is ook medeoprichter van elephy, een productie- en distributieplatform voor film- en mediakunst gevestigd in Brussel.

Conversation NL EN
23.06.2021

The Portuguese filmmaker Pedro Costa made his first film, Blood, in 1989. In 1994, Down to Earth followed, which was filmed in Cape Verde. Costa came back from the island with a number of parcels and letters from Cape Verdeans he had met there, addressed to their relatives and friends who had emigrated to Portugal. His task as a postman brought him to Lisbon’s Fontainhas neighbourhood, where many migrants were living at the time. After this first contact with the inhabitants of the neighbourhood, Costa kept returning there, filming Ossos in 1997, the first instalment in a series of films he would make with the inhabitants of Fontainhas. Pedro Costa: “Fontainhas is, indeed, the product of something, of the factories here, of people moving from some northern Scottish village to Sheffield. That is what it’s about.”

Conversation NL EN
23.06.2021

De Portugese filmmaker Pedro Costa maakte zijn eerste film Blood in 1989. In 1994 volgde het in Kaapverdië gefilmde Down to Earth. Costa kwam terug van het eiland met pakjes en brieven van Kaapverdianen voor hun familieleden en vrienden die naar Portugal waren geëmigreerd. Zijn taak als postbode bracht hem naar de wijk Fontainhas in Lissabon, waar veel migranten woonden. Na het eerste contact met de bewoners van de wijk ging Costa verschillende keren terug en in 1997 filmde hij er Ossos, de eerste van een reeks films met de bewoners van Fontainhas. Pedro Costa: “Fontainhas is inderdaad het gevolg van iets, van de fabrieken hier, van mensen die van een of ander Noord-Schots dorp naar Sheffield verhuisden. Daar gaat het over.”

Conversation EN
2.06.2021

I think of myself as someone who has an instinctual understanding of what it is to be a minority person. That is someone whose existence is highly marginal in the society and understands it in the gut but will not be dominated by it. Therefore, I refuse all of those labels, such as Black Woman Filmmaker, because I believe in my work as something that can be looked at without labels.

Conversation EN
2.06.2021

“The thing that writing teaches you, which is probably the thing I’ve discovered that I know best about, is the mastery of form. And each discipline is really an exercise in understanding what is allowable in the structure of that particular form. Screenplay writing has curves and you have to write for the curves of the story.”

Conversation EN
19.05.2021

As the pioneer of female Tunisian filmmakers, Selma Baccar has first and foremost also answered back to men’s representations of women in her own films. From The Awakening (1966) to Fatma 75 (1975), The Dance of Fire (1995) to Flower of Oblivion (2006), the historical detail, contemporary relevance and concern with women in a much wider context have gained her the reputation of the “grande dame” of Tunisian cinema: a feminist activist. Selma Baccar: “As an activist for women’s rights, I have always felt that women are the cornerstone of society in general, and as a child of the age of protests in the 1960s I felt that I could be not only a spokesperson for the Tunisian woman but also an informer and critic of the contemporary atmosphere in Tunisia.”

Conversation EN
19.05.2021

“The International Women’s Year provided me with the opportunity to make it [Fatma 75]. I figured that, for the first Tunisian film entirely devoted to this subject, I must not resort to fiction but make an analytical work. Through this film, I set about demystifying what is called ‘the miracle of Tunisian women’s emancipation’.”

Conversation EN
19.05.2021

Selma Baccar’s film opens with a series of portraits of women who have marked the history of Tunisia through the ages. In a theatrical way, Sophonisba, Kahina, Jelajil, and Aziza present themselves to us as the predecessors, through their courageous actions, of this young girl, Fatma, in 1975.

Conversation
19.05.2021
Magda Wassef 1978
Translated by

Fatma 75’s approach is quite original. The film is based on essays and histories written on the Tunisian feminist movement, using fiction to make its message accessible to the general public. Selma baccar: “As for my experience as a woman director, I think it was very important for me. My relationship with the crew and the actors was excellent. The shooting of Fatma 75 was “all roses”. On the other hand, in order to obtain the necessary funding for the production of the film, I felt a great mistrust from some of the people in charge, although I had a special card up my sleeve: a film about women made by a woman. But the problem of film production in Tunisia is the same for men and women: it’s negative for both of them.”

Conversation NL EN
12.05.2021

“It’s much more enjoyable to watch theatre than to make theatre, and it is much more enjoyable to make films than to watch a film, because film is a much more evolved medium when it comes to the material you are interpreting. Imagine to simply steal someone’s face, their appearance, capturing it at the angle you’re most attracted to, where it moves you, and to try to piece together all that you’ve stolen afterwards during the editing; that you can then fabricate something very moving.”

Conversation NL EN
12.05.2021

“Het is veel plezieriger om naar theater te kijken dan om theater te maken, en het is veel plezieriger om film te maken dan naar film te kijken, omdat film een veel meer geëvolueerd medium is wat lezen betreft, wat de lectuur betreft. Dat je gewoon iemand zijn gezicht, zijn voorkomen steelt, inblikt op het ogenblik dat het jou bevalt, ontroert, en dat je bij de montage ziet hoe al die berovingen bij elkaar passen.”

Conversation FR
5.05.2021

En 1956, Paul De Swaef passe sur le tournage du film Le chantier des gosses de Jean Harlez pour le journal dominical belge Germinal, film qui sera finalement présenté en première à Bruxelles en 1970.

Conversation EN
28.04.2021

“But I’m going to reveal a military secret to you that I haven’t revealed to anyone else, because the Tricontinental is as dear to you as it is to me. Thus, your interview will not be like others. People wonder why Heiny Srour has always been a pioneer, a groundbreaker, both in substance and form, why she has always gone off the beaten track. Why, in all of Arab cinema, was she the first to shoot in Dhofar and, also, to go to Vietnam? Why has she been innovative in various domains? The reason is that I was fortunate enough to be born in Lebanon, part of an ultra-minority, unrepresented in Parliament. That immediately offers you a wide-angle view of the world, which the Anglo-Saxons call ‘strategic thinking’.”

Conversation EN
28.04.2021

The Hour of Liberation is, therefore, a partisan film at all levels. In terms of the montage as well: you can’t place images filmed on both sides of the fence in any order, and tell the viewer to choose sides; that would put oppression and freedom, injustice and justice on the same level. The film is constructed on a structure that rejects the bourgeois conception of ‘objectivity’: it clearly takes sides, without necessarily hiding the difficulties of the struggle, without hiding the contradictions, without ultimately lapsing into triumphalism. The entire montage is conceived to produce an analysis of what a people’s war is.”

Conversation EN
21.04.2021

Conversely, I try to find my words on the editing table. I have both my typewriter and my editing table in one room. It is connected to this question of writing and filmmaking, because it is also very evident you cannot make films the same way you can write a text. For the text you need to go to the library, but 80% or so of them are created in the room, or if not created, then at least the final version is made indoors at your desk. That is also the last stage of the filmmaking, the aspect where writing and filmmaking come together. People ask me, why don’t you write anymore, and I realise it is because I have succeeded in making a form of writing out of my filmmaking.

Conversation EN
7.04.2021

“I began by making film reports, documentaries, and I didn’t come to fiction until much later. The boundaries between the two aren’t very clear-cut, however, and there are often documentary elements in fiction films and vice versa. At the time, there was a fabulous reporting tradition, with film crews in conflict zones that didn’t hesitate to take risks and demonstrate a certain situation by bringing us the footage. Resorting to cinema, especially to documentaries, in order to provoke or accompany social change, to denounce or to provide a basis for action, all this was very much present when I started.”

Conversation EN
7.04.2021

“Each time I made a film, it was in a given political period; each time I had a political objective, my films couldn’t just be without orientation. That’s not sentimentality. Through a form of sensibility, a political problem emerges. The destruction of Beirut, the children fighting, it means something. I figured this way of showing things could touch people and have a real political impact. People are fed up with the talking. On television, for example, one day they show a representative of the left, the next a representative of the right. Every day, they agree with someone else, and they end up forgetting who’s right or wrong!”

Conversation EN
7.04.2021

“They no longer allowed us to express ourselves. There was no freedom anymore. At the time, I didn’t fully understand that I was scaring them because I didn’t realize the impact of my work. With my documentaries and my different way of looking at things, I managed to reach European and American television channels. They were afraid my images would shake the public opinion and dismantle their propaganda.”

Conversation EN
7.04.2021

“Today, nine years later, I say to myself: “It’s no longer a matter of taking a position.” That’s where my films are headed and that’s what brings me to fiction. I think I’m meeting my time, the wave of complete scepticism, of doubt, which means that in the fiction to come I have completely abandoned any political point of view – even if everything is political. Even if there is no doubt that there has been a political position. The desire I had to be on TV, to reach a lot of people, meant that my work was concerned with the imagery, which was much more powerful than militant film.”

Conversation EN
7.04.2021

“This documentary phase wasn’t only linked to my personal history; it was determined by my country’s political situation and Lebanon’s cinema history. My trajectory is a bit like that of other Lebanese filmmakers. If I decided to move to fiction it’s because, after speaking in a “militant” manner, I now want the image to speak as much as possible.”

Conversation FR EN
17.03.2021

“Yes, from a filmmaker’s point of view, we wanted to look for images other than those brought back by television crews every time there’s a political event in the occupied territories (manifestations, strikes, riots, etc.). We actually believe that these images make us forget the essence: the sense of the struggle of these people. The informative television images are images of ‘effects’, and we are looking for images of ‘causes’.”

Conversation FR EN
17.03.2021

« Oui, notre point de vue de cinéastes était de rechercher des images autres que celles ramenées par les équipes de télévision à chaque événement politique dans les territoires occupés (manifestations, grèves, émeutes, etc.). Nous croyons, en effet, que ces images finissent par faire oublier l’essentiel : le sens de la lutte de ces gens. Les images d’information télévisées sont des images d’« effets », nous recherchions des images de  « causes ». »

Conversation FR EN
17.03.2021

“[Fertile Memory] is the result of several years of work. I made several reports in the occupied territories, but I also have to say that the film was beyond me. The Palestinian question is basically an issue of oppression: an oppression that dominates the world. I said to myself that I would be able to give the Palestinian question a new dimension by talking about the most oppressed. I thought that women would help bring out all the contradictions.”

Conversation FR EN
17.03.2021

[C]’est le résultat de plusieurs années de travail, j’ai fait plusieurs reportages dans les territoires occupés, mais je dois dire aussi que le film m’a dépassé. Au fond, c’est quoi le problème palestinien, c’est le problème de l’oppression : une oppression qui domine le monde. Je me suis dit que c’était en parlant des plus opprimés que je parviendrai à donner une dimension au problème palestinien. J’ai pensé que la femme permettrait de faire ressortir toutes les contradictions.

Conversation FR EN
10.03.2021

“There’s something crazy about editing. The little I learned about film technique and the manipulation of forms comes from editing really. Because I had to edit everything myself; I couldn’t afford an editor – and I didn’t want one anyway. I was too – what word do they use nowadays? – “invested”. Funny word.”