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video that our readers have already started to get to know in the introductory pages of this article. What has at once captured our attention of your insightful inquiry into the relationship between the beautiful and the deformed is the way your sapient narrative provides the viewers with such an intense visual experience. While walking my readers through the genesis of Human Geography, would you tell us how did you develop the initial idea? In all my work the keynote that moves me to start a work is the taboo concept, the hidden, the dangerous, the annoying. In this case in Human Geography, it tries to show body parts that we normally hide, whether they are wrinkles, cracks, volumes that at a social level are not well seen and to show them from another perspectives. Generating deformed shapes into something beautiful and mysterious. It is a way of playing around, breaking the canons of beauty. And show beauty from another less common place. I also wanted to play with the spectator showing parts of the body that I could not recognize at first sight and that those images evoked landscapes. I kept this idea for a long time until I found my wonderful team, with whom I was able to create Human Geography better than I had planned. Synergy ones again. Featuring essential refined cinematography, Human Geography speaks of realism while involving the audience in a dreamlike visual experience: what is your aesthetic decision when conceiving this stimulating work? In particular, what was your choice about lens and what was your approach to lighting? I also wanted to get into that different non-sexualized magical sensuality. Where the body shows itself without that sexual charge. Where the body becomes a source of inspiration, it is a


Women Cinemakers

Profile for WomenCinemakers

WomenCinemakers, Special Edition  

WomenCinemakers, Special Edition