I saw in front of me. However, when I started working on it, I found difficulty in translating these intuitive feelings into an understandable film. It was difficult to describe what exactly had driven me to this village and urged me to go back to create this film. So, I started editing from a relatively empty canvas. I followed the same intuition which lead me to create the film and put together the images based on instinct and aesthetic reasoning. I tried to find a perfect balance on screen, a rhythm in the silent movements of the charachters and the scenery in order to reach something that felt perfectly harmonious. Before I was shooting the
film, I was already writing the text, and continued this parallel during the editing process, where it really naturally came together. All things considered, it was a long search, but it ultimately taught me to describe an atmosphere both in film as in word. More specifically, that this atmosphere was something made up of indefinable elements such as ‘the sense of time’ of the notion of joining a dimension where there is another perception of time. Where there is no need for spectacle. Part of the learning process was transforming these abstract concepts into a