0:10

so the first of the film’s there was any

0:13

breathing the times he breathing SI yo

0:33

tambien big gorilla a claim on it tato

0:38

diffusion-weighted revenue filter que

0:41

para me homo see you Twitter then throw

0:43

the offender the idea of a file to

0:49

portray convey a sensation fast as pics

0:54

here and you can see that the image is

0:56

blurred and filtered so bring another

1:00

level of distance between myself and the

1:03

human but as Hades pretty actually she

1:07

holds the camera see a moment to select

1:11

all the sentiment in Korea que pasa en

1:18

primera parte SI x ESO Tamara Sarah

1:21

Grieco front a CO CO messy situation k

1:24

distortion on domingo para

1:27

you ve SI no la fiesta boom and then

1:34

it’s also because it’s a film that hated

1:37

in the first years of ischemic there it

1:41

conveyed also the idea of isolation or

1:45

of having a very dislocated first

1:48

edition of reality that’s why she lived

1:50

what it was supposed to be here for

1:52

Catherine party as which path one of the

2:04

worst fear was taking place supposed to

2:08

be a border crossing item each location

2:10

water ninguna otra vez none and all

2:14

other centres you havin a proposito say

2:18

IEC element area we got a supporter

2:21

important pacific oreo person came Alfie

2:25

money person he never met gala yo SE que

2:28

no le no no yo no quería que que es una

2:31

mirada de LoDo see no visa gleason sent

2:34

me home is a suggestion in parisa heresy

2:40

it’s like I didn’t want to name a

2:43

specific place in this process of border

2:46

crossing I thought I’d at first i

2:48

thought i would do so but because i feel

2:50

i was filming in Geneva and I thought

2:52

that the primary audience of his films

2:55

going to be people from Geneva I don’t

2:57

want to place it elsewhere so they could

3:00

see

3:00

those characters than audiences SI ESO

3:08

que estar love and says he came busting

3:13

in like every toon le de poco como si

3:16

pues en ella y el de Rhodri that is also

3:19

why he’s spoken in Spanish although we

3:21

don’t mention a specific place it’s a

3:24

place less space but what haley wanted

3:28

to achieve for something people from

3:31

geneva could feel like in the shoes of

3:35

those characters as well that’s already

3:38

have it tonight thank you IDM side a

3:42

beautiful town this hour since I’m glad

3:46

you said but I got the silence new film

3:48

this space will you be loved or

3:51

insightful to designing jake cherry

3:55

sauce diaspora something that it is very

3:58

rare for me to where i was looking at

4:01

here are broken

4:03

you know the United do you ever wonder

4:07

how it is bleeding inside and targeted

4:13

about how this system SI estaba topology

4:21

laundry facilities area since i’m

4:24

talking cool and we need to sell my hope

4:28

warnings of immigrants get spraying so

4:32

i’ll take romance every other issue and

4:35

the president ashore felt worse playing

4:38

on the end impossible a month ago

4:40

harrison in the context in the context

4:42

of a nevada-based of fellow fulfill

4:45

their young filmmaker stories yellow

4:47

metal placentas entre las películas

4:52

solamente recibido como echo the

4:56

inclusive oil check okay million we can

5:01

in the way no game ad said today Haley

5:03

go into molecular motion and forces and

5:08

I’ve never unforgettable worm as its kid

5:10

in stray on the island but I receive

5:13

inside icons that fans are right years

5:16

18 years later where people group in Sao

5:19

are you need I’ve seen your work 30 make

5:24

too much noise I was my taste yamaha la

5:29

la la lo que siento curriculum

5:32

ok toca el público 19 khumalo ok what’s

5:39

on a holiday para una silla y mucho

5:42

menos pero damdami gala de Paris

5:45

allocate stopped umbrella where D’Angela

5:47

who was already sitting and I think that

5:52

film in particular removes the Cuban

5:54

audiences on the other a lot and it’s

5:57

not because it’s showing something that

5:58

people to run wild in Cuba but i think

6:02

it’s bringing a new perspective on that

6:04

matter and they will accede idea say i’m

6:11

wondering if you want to comment first

6:14

comment at all that the perspective take

6:17

which is the perspectives of the woman’s

6:20

you

6:20

point including the shell on both man

6:23

it’s a woman looking at a man which is I

6:25

thought was very brave because usually

6:27

it’s the reverse to a man is looking at

6:29

a woman that we have to watch appeal and

6:34

all the other films also were from where

6:37

I think various Mormons perspective

6:40

always matched some commentary

6:44

see claramente esta muy presentan mi

6:48

trabajo no se SI hace muy evidente

6:51

cuando se ven todos los trabajo seguido

6:54

que es la SE hace tres dias hola primera

6:57

vez que yo lobito say e yeah of course

7:01

that’s something that’s uh I think very

7:02

Latin in my work and specifically when

7:06

you see the the four shorts together

7:08

which Haiti made before she made her

7:10

first be sure documentary and last year

7:13

and and only three days ago I was able

7:17

to see the curated program as a whole y

7:20

para mi una cosa que como muy naturally

7:23

say yo Gracie and Ramon Harris and to me

7:28

that something that’s natural I grew up

7:30

among women y pienso que también por ESO

7:33

y por ser yo mismo mujer tengo como una

7:35

sensibilidad particular a la problema

7:37

que pueden effect era la mujer que

7:40

pueden affect our a cualquier individual

7:43

/ o yo claramente lo veo el punto de

7:45

vista una mujer and that’s what I think

7:47

that I have a particular interest in

7:51

representing and understanding women’s

7:56

issues that affect women in particular

8:01

and also because I see reality from the

8:04

point of the other woman why did you

8:11

chose to shoot Cara rock-like from that

8:16

you’re following the subject and it

8:18

wasn’t like the subject si si si si own

8:22

a tomato a cesium porque para Mara muy

8:27

importante mostrar a separar la imagen y

8:32

el sonido por un lado tener la imagen

8:34

que tenemos de alguien le ma Hank edades

8:36

a persona y por el otro lado lo que esa

8:39

persona esta viviendo interior I made

8:42

that decision because for me was very

8:43

important to separate the image and the

8:45

sound the image that we have of somebody

8:47

and what that person’s living inside or

8:52

filling inside

8:55

hmm as I was saying that hear my new

8:58

blood Europe those months and Mansfield

9:01

first movie yeah well he basically did

9:05

the gardener will you speak mostly is or

9:09

almost like a monologue or promotions

9:11

one of the Christians in the city what

9:17

in a gray like also was how you go from

9:19

general and then the other fee honest

9:21

again but that’s your voice in French

9:25

this was a very beautiful above seeing

9:27

the continuity of the same point of view

9:32

of the of the woman to make hair under

9:35

the many aspirants along collective

9:39

two languages the many stages of

9:42

diaspora I as a curator I remember when

9:45

I saw her at land I just arrived in

9:47

Canada as an international student and I

9:50

said oh and that woman on the screen so

9:52

I kinetic immediately with Fred land I

9:55

think now I’m going through slowly

9:58

because you there are the desperate

10:00

about this location but also about

10:02

engaging with Indian context in

10:04

different ways right about integration

10:06

we were talking about that so if you’re

10:08

if you are in a red land stage at some

10:10

point maybe you’ll get to that or summer

10:13

storm hello later then in between the

10:17

first film is this very scene of great

10:21

violence and pressure and

10:24

it’s so frightening you know so when I

10:26

saw the opening and there was one woman

10:28

and all those men I got I understood the

10:31

danger of it how does that fit into the

10:35

sort of ideas of discussion about stages

10:37

of diaspora or how the integrator don’t

10:40

and create it how we to understand that

10:44

film I think hey Deacon to talk about

10:46

with the feeling and the context that

10:49

made her produce that film in particular

10:52

but I think it’s also it was made also

10:57

at the beginning of her ever being there

10:59

and it was about the violence of

11:03

crossing a border of crossing boundaries

11:05

from a point of view of a woman as well

11:07

from a point of view of the mother that

11:09

we also see in theater roja and and like

11:13

sometimes there is no there’s no beyond

11:17

even if you try right so it was at the

11:19

beginning it can be very disappointing

11:22

that that black hole you wish you feel

11:24

alienated somewhere I think she made it

11:27

through that and that was a form of

11:30

mechanical Tarsus right with with me

11:33

Saturday CC into the men today recuerda

11:37

a mis error fue una manera de poner en

11:41

escena un sentimiento de Desiree go de

11:46

de perdido la referencia de de Soleil

11:50

she owned the saliency me said it was a

11:53

was a way of putting on the scene of

11:58

expressing a brittleness desolation

12:02

isolation not belonging yeah well thank

12:07

you so much for her for joining us today

12:09

and we can talk a little more outside

12:11

thanks

12:24

Oh

12:27

Oh

12:32

Liverpool

12:35

Oh

12:37

I

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