Heidi Hassan is a fundamental figure in the post-2000 panorama of Cuban diasporic cinemas. Her filmmaking is crucial to contextualize the experience of what Hamid Naficy has called “accented styles”: interstitials modes of filmmaking through which affective, first-person and selfreflexive audiovisual works emerge. Hassan explores different politics of place that reflect on the forms of citizenship, being and belonging faced by a racialized migrant woman filmmaker in the diaspora. Her presence as a guest artist in aluCine will allow diverse audiences to engage in conversations about multiple constructions of diasporic identity. The notions of home, borders and intimate spaces are essential in this program of autobiographical short films, some of which the filmmaker narrates and stars in.
Heidi Hassan (Havana, 1978) is a photographer, cinematographer and film director. After obtaining a Diploma in Photography Direction at the International Film and Television School (EICTV) in San Antonio de los Baños, Cuba, she studied Film Direction at Geneva’s Superior School of Arts and Design (HEAD). She has developed a personal ouvre with numerous collaborations as DP in short and feature fiction and documentary films. Hassan’s works have been exhibited in prestigious film festivals such as the Journée Suisse at Cannes, the Locarno Film Festival, Visions du Réel-Nyon, Clermont-Ferrand and the International Documentary Film Festival Amsterdam. Her upcoming feature documentary Portrait à l’encre will be codirected with long-term friend and collaborator Patricia Pérez. She currently lives and works between Spain and Switzerland.Heidi Hassan is a fundamental figure in the post-2000 panorama of Cuban diasporic cinemas. Her filmmaking is crucial to contextualize the experience of what Hamid Naficy has called “accented styles”: interstitials modes of filmmaking through which affective, first-person and selfreflexive audiovisual works emerge. Hassan explores different p …
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so the first of the film’s there was any
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breathing the times he breathing SI yo
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tambien big gorilla a claim on it tato
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diffusion-weighted revenue filter que
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para me homo see you Twitter then throw
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the offender the idea of a file to
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portray convey a sensation fast as pics
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here and you can see that the image is
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blurred and filtered so bring another
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level of distance between myself and the
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human but as Hades pretty actually she
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holds the camera see a moment to select
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all the sentiment in Korea que pasa en
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primera parte SI x ESO Tamara Sarah
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Grieco front a CO CO messy situation k
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distortion on domingo para
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you ve SI no la fiesta boom and then
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it’s also because it’s a film that hated
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in the first years of ischemic there it
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conveyed also the idea of isolation or
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of having a very dislocated first
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edition of reality that’s why she lived
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what it was supposed to be here for
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Catherine party as which path one of the
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worst fear was taking place supposed to
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be a border crossing item each location
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water ninguna otra vez none and all
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other centres you havin a proposito say
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IEC element area we got a supporter
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important pacific oreo person came Alfie
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money person he never met gala yo SE que
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no le no no yo no quería que que es una
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mirada de LoDo see no visa gleason sent
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me home is a suggestion in parisa heresy
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it’s like I didn’t want to name a
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specific place in this process of border
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crossing I thought I’d at first i
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thought i would do so but because i feel
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i was filming in Geneva and I thought
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that the primary audience of his films
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going to be people from Geneva I don’t
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want to place it elsewhere so they could
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see
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those characters than audiences SI ESO
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que estar love and says he came busting
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in like every toon le de poco como si
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pues en ella y el de Rhodri that is also
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why he’s spoken in Spanish although we
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don’t mention a specific place it’s a
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place less space but what haley wanted
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to achieve for something people from
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geneva could feel like in the shoes of
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those characters as well that’s already
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have it tonight thank you IDM side a
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beautiful town this hour since I’m glad
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you said but I got the silence new film
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this space will you be loved or
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insightful to designing jake cherry
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sauce diaspora something that it is very
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rare for me to where i was looking at
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here are broken
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you know the United do you ever wonder
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how it is bleeding inside and targeted
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about how this system SI estaba topology
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laundry facilities area since i’m
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talking cool and we need to sell my hope
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warnings of immigrants get spraying so
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i’ll take romance every other issue and
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the president ashore felt worse playing
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on the end impossible a month ago
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harrison in the context in the context
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of a nevada-based of fellow fulfill
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their young filmmaker stories yellow
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metal placentas entre las películas
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solamente recibido como echo the
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inclusive oil check okay million we can
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in the way no game ad said today Haley
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go into molecular motion and forces and
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I’ve never unforgettable worm as its kid
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in stray on the island but I receive
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inside icons that fans are right years
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18 years later where people group in Sao
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are you need I’ve seen your work 30 make
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too much noise I was my taste yamaha la
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la la lo que siento curriculum
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ok toca el público 19 khumalo ok what’s
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on a holiday para una silla y mucho
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menos pero damdami gala de Paris
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allocate stopped umbrella where D’Angela
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who was already sitting and I think that
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film in particular removes the Cuban
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audiences on the other a lot and it’s
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not because it’s showing something that
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people to run wild in Cuba but i think
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it’s bringing a new perspective on that
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matter and they will accede idea say i’m
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wondering if you want to comment first
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comment at all that the perspective take
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which is the perspectives of the woman’s
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you
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point including the shell on both man
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it’s a woman looking at a man which is I
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thought was very brave because usually
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it’s the reverse to a man is looking at
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a woman that we have to watch appeal and
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all the other films also were from where
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I think various Mormons perspective
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always matched some commentary
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see claramente esta muy presentan mi
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trabajo no se SI hace muy evidente
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cuando se ven todos los trabajo seguido
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que es la SE hace tres dias hola primera
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vez que yo lobito say e yeah of course
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that’s something that’s uh I think very
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Latin in my work and specifically when
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you see the the four shorts together
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which Haiti made before she made her
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first be sure documentary and last year
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and and only three days ago I was able
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to see the curated program as a whole y
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para mi una cosa que como muy naturally
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say yo Gracie and Ramon Harris and to me
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that something that’s natural I grew up
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among women y pienso que también por ESO
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y por ser yo mismo mujer tengo como una
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sensibilidad particular a la problema
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que pueden effect era la mujer que
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pueden affect our a cualquier individual
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/ o yo claramente lo veo el punto de
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vista una mujer and that’s what I think
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that I have a particular interest in
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representing and understanding women’s
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issues that affect women in particular
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and also because I see reality from the
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point of the other woman why did you
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chose to shoot Cara rock-like from that
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you’re following the subject and it
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wasn’t like the subject si si si si own
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a tomato a cesium porque para Mara muy
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importante mostrar a separar la imagen y
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el sonido por un lado tener la imagen
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que tenemos de alguien le ma Hank edades
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a persona y por el otro lado lo que esa
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persona esta viviendo interior I made
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that decision because for me was very
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important to separate the image and the
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sound the image that we have of somebody
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and what that person’s living inside or
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filling inside
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hmm as I was saying that hear my new
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blood Europe those months and Mansfield
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first movie yeah well he basically did
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the gardener will you speak mostly is or
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almost like a monologue or promotions
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one of the Christians in the city what
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in a gray like also was how you go from
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general and then the other fee honest
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again but that’s your voice in French
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this was a very beautiful above seeing
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the continuity of the same point of view
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of the of the woman to make hair under
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the many aspirants along collective
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two languages the many stages of
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diaspora I as a curator I remember when
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I saw her at land I just arrived in
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Canada as an international student and I
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said oh and that woman on the screen so
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I kinetic immediately with Fred land I
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think now I’m going through slowly
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because you there are the desperate
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about this location but also about
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engaging with Indian context in
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different ways right about integration
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we were talking about that so if you’re
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if you are in a red land stage at some
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point maybe you’ll get to that or summer
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storm hello later then in between the
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first film is this very scene of great
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violence and pressure and
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it’s so frightening you know so when I
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saw the opening and there was one woman
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and all those men I got I understood the
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danger of it how does that fit into the
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sort of ideas of discussion about stages
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of diaspora or how the integrator don’t
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and create it how we to understand that
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film I think hey Deacon to talk about
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with the feeling and the context that
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made her produce that film in particular
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but I think it’s also it was made also
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at the beginning of her ever being there
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and it was about the violence of
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crossing a border of crossing boundaries
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from a point of view of a woman as well
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from a point of view of the mother that
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we also see in theater roja and and like
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sometimes there is no there’s no beyond
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even if you try right so it was at the
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beginning it can be very disappointing
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that that black hole you wish you feel
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alienated somewhere I think she made it
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through that and that was a form of
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mechanical Tarsus right with with me
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Saturday CC into the men today recuerda
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a mis error fue una manera de poner en
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escena un sentimiento de Desiree go de
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de perdido la referencia de de Soleil
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she owned the saliency me said it was a
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was a way of putting on the scene of
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expressing a brittleness desolation
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isolation not belonging yeah well thank
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you so much for her for joining us today
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and we can talk a little more outside
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thanks
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Oh
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Oh
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Liverpool
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Oh
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I
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