interview
Women Cinemakers personal associations would you tell us how much important is for you that the spectatorship rethink the concepts you convey in your pieces, elaborating personal meanings? How open would you like your works to be understood? I usually start with a personal idea or experience and from there translate it out to a broader theme. It’s important for me for the viewer to elaborate personal meaning in my work. I construct the film with that purpose in mind. I’m not offering an authoritative documentary, but rather a collection of glimpses into the daily experience of our shared histories or cohabitations. I find that the static, motionless shots become a canvas for the viewer’s reflexive thought. On top of the framing of the shots the editing is also key. I work by association in the editing process, linking forms or colors or subtle motifs that weren’t apparent to me during the filming process. This cerebral approach is therefore offered to the viewer as a springboard for developing further meanings or personal connotations. Reminding us of the concept of non-lieu elaborated by French anthropologist Marc Augé, your exploration of seems to reflect the relationship between outside world and our inner landscape. Did you aim to create an allegorical film? Moreover, how do you consider the role of metaphors within your practice? I wouldn’t say that I aimed to create allegorical or metaphorical films, but I am interested in ideas surrounding cyclical periods of both external and internal social histories. A lot of my work explores or excavates things that are hidden or were there but that no longer exist. How do we negotiate our own future in a city when the past is consistently forgotten or erased? How do