I'm like in a dream.
A premiere is very intense, in general.
There is a lot of work behind it. I'm kind of taking it in.
But it's special. I grew up in Donostia
discovered cinema at this festival.
Then, suddenly, seeing myself there with a film
in Galician is very powerful.
I have been living in Galicia for almost 15 years.
And all of a sudden, to see a film in Galician here,
in my hometown, is like a symbolic confluence of everything.
It does stem from this need to explore women's capacity
to conceive and to give birth.
That part of nature and in a more existential way,
in a more existential way.
And how that also dialogues with life, with death,
with Eros, Thanatos.
But I also wanted a film that,
even though it goes through very dark places
due to historical prohibitions on women's bodies,
is also celebratory and profound. How pain, pleasure
and all those intense emotions that can be related to this
are ambiguous and are profound.
Yes, starting and ending with life seemed important to me.
This cycle of life and death.
That's why it seemed beautiful or important to end with life.
Well, to name a reference,
I think it would be the one in the genesis,
who is possibly the one who could have inspired me
or accompanied me the most in that inspiration,
which was Peleshyan with the piece of 'Life',
which is a very celebratory moment
in the life of his son or daughter.
And it's a piece that at the time, when I saw it,
had an impact on me and I think it was one of the inspirations.
my films are not landscape films,
a very strong presence and envelope the character.
and envelope the character.
In this case, I was even interested in the landscape merging them.
As I was looking for characters and especially female characters
who were very attached to the land,
I was looking for them to merge with the landscape,
or to be the landscape in some way,
Galicia has a very strong telluric force,
as does the Basque Country.
For me they are sister territories and there is something
that I find similar, that makes me feel very much at home there,
and it is that power, that force of nature.
For me, the mise-en-scène has to do
with the very breathing of the film and with the dialogue
with what you're watching.
But in this film we were looking for a lot of physicality,
also in the image, in how to film those bodies.
Every actress has her own entrance door.
I mean, for me there is no general booklet.
In other words, in a way, directing is also empathizing
and getting to know the person you are going to direct
and what they need to get into this character.
get into this character.
And every person is a world.
And that's the fascinating thing about cinema.
All those psychologies that rub together,
that have to work together and leave their mark.
In that sense, Janet is very physical
and understands a lot from the body.
She needs to move through the emotion from her body.
So, the way of directing her appealed a lot to this.
It was not a more common psychological framework in directing.
but we thought that the freshness of her movement
would give her the physicality, the body, the inhabiting of the body
that we were looking for.
On the other hand, with Carla, being more an amateur,
or rather a debutant,
she did appeal a lot to the real, to real experiences,
to something that she didn't have to project
or to build something from scratch,
but that she had something to hold on to.
I think that in Galicia, if something has defined the last decade
or more, it's a commitment to cinema and a love for cinema.
And I think that's what unites us all.
For me it's a concept of family,
of helping each other in our projects, of giving each other feedback,
of giving each other that warmth that is also needed in creation,
because it's a hard path, after all, and you need that company.
I think it also gives you strength.
It's also true that it was unfortunate
that our generation of Ikusmira Berriak was hit by the pandemic
and right in the middle of the experience
we had to confine ourselves and we couldn't enjoy it to the full.
But for me it was also very important
because it was six weeks in a row at that time,
when I was going to return to my city after so much time,
and it was a very personal event for me.
It was at a very early stage of the project.
For me it was important on several levels.
One was the time it gave me to be able to write and concentrate.
The tutors they put to accompany the film,
to give their vision, to give ideas, to redirect it
and then also that it puts you in a more visible place
so that you can perhaps be able to ally with other co-producers,
distributors and thus be able to better finance the film,
to make it more possible.
I have an idea in mind,
but I still don't dare to write it
because I have to be very sure
and I think I should also give myself this space
to see what this film gives me back before.
71SSIFF | Kafea - Pedágio
08:45
71SSIFF | Kafea - Beyond the Fog
13:02
71SSIFF | Kafea - Grace
21:08
71SSIFF | Kafea - El juicio
02:46
71SSIFF | Kafea - Les rayons gamma
22:18
71SSIFF | Kafea - The New Boy
18:51
71SSIFF | Kafea - Los delincuentes
24:55
71SSIFF | Kafea - Los impactados
16:26
71SSIFF | Kafea - We Are the Hollow Men
13:25
71SSIFF | Kafea - Bauryna salu
18:28
71SSIFF | Kafea - Contadores
15:35
71SSIFF | Kafea - Single Light
17:24
71SSIFF | Kafea - Alemania
19:30
71SSIFF | Kafea - Camping du lac
15:16
71SSIFF | Kafea - Short Story
26:58
71SSIFF | Kafea - Aunque es de noche
21:22
71SSIFF | Kafea - Tótem
23:15
71SSIFF | Kafea - Mamántula
14:40
71SSIFF | Kafea - La memoria infinita
24:05
71SSIFF | Kafea - Mother, Couch!
14:49