00:08 I do ask myself a question:
00:11 Why do I make films?
00:12 Is it because I have something very important to say?
00:15 And I think no,
00:17 because it's really about things I cannot say
00:19 and I will never be able to say.
00:22 And cinema is this medium
00:25 that does allow me to communicate,
00:29 but not verbally,
00:31 but more like sensual
00:33 and intellectual communication with life and with the world.
00:36 So, I started to think that cinema
00:39 is about unnamed things.
00:51 In general, I think art
00:54 is something that has no name,
00:56 and maybe it's a duty of an artist or a creator
00:59 to find those things,
01:02 and to bring them to existence,
01:05 but I would say,
01:07 they do exist, but to give it a name in a way.
01:19 I think that it's not me
01:21 who decides in a way,
01:24 but it's like this feeling
01:25 and this thought decides for me,
01:27 because it becomes obsessive in a way,
01:29 and it starts to somehow
01:31 take all the space in my mind.
01:36 And I know that, okay, here there is a film
01:39 and I need to find it.
01:41 I always think that there is a film that it exists.
01:43 I just need to find it.
01:45 -We're very proud
01:51 to have seen this movie,
01:54 which here was a sort of revelation for us.
01:56 It was like a real moment
01:58 in which cinema was really inflaming the screen.
02:02 So, it's great honour and pride
02:05 that we give the Golden Shell
02:07 to 'Dasatskisi' (Beginning) by Dea Kulumbegashvili.
02:15 Residency in Tabakalera was really crucial
02:18 and it was a vital experience for me to come here
02:21 because not only because I had extremely quiet time for three weeks,
02:27 I could just write and just think and walk around the city and get lost.
02:34 I needed some thinking space
02:36 after all of the like, festivals and everything that was happening with the film.
02:48 There are like several residencies offered around Europe.
02:52 But, usually, I refuse to go to those residences
02:55 where I have a schedule or where I really need to deliver something at the end.
03:00 Because for me, the process of doing something
03:03 is not, is never oriented to the result.
03:06 One of the things which I am extremely grateful for that while being here
03:12 Tabakalera offered to me not to define myself as something because I feel like…
03:17 because I feel like… I don't feel comfortable defined just as a filmmaker
03:24 or person with any profession, really.
03:29 Because I just like to explore my ideas.
03:39 I had some thoughts about my new film already
03:41 and I have started to write it before coming to Tabakalera,
03:44 but it was more like an intuitive process.
03:48 And here I really just started to put something on the paper also.
03:58 Writing is, at the end,
03:59 the most important part for me of making a film,
04:03 in a way, because writing for me is not just to write a script
04:06 in the standardised professional manner
04:09 but writing for me is to really create
04:11 a film in my head already,
04:13 to find it in my head.
04:17 And because while I'm writing,
04:20 I also find places where I'm going to shoot.
04:23 And I really spend most of my time
04:24 in the place where I'm going to make a film,
04:27 because I really want to feel like everything.
04:34 I hate when people say the word 'location'
04:37 or when they say 'your locations gallery',
04:39 because I don't know what that means.
04:41 It's not like I have five options for a location
04:43 and if this is not going to work, I'm going to use this.
04:46 It's not like that.
04:47 I'm finding a film within those places
04:50 and spaces,
04:51 and writing is really closely related
04:53 for me to this physical process of exploring.
05:03 I really try to go down to the essential,
05:06 what is essential for me in a particular film.
05:09 I really like to have only what I need
05:12 when I make a film,
05:14 and I hate even when I have one extra cable
05:17 or like I really don't want anything extra on my set.
05:20 And 'Beginning' was shot on one lens
05:24 and I think I'm going to shoot on one lens
05:26 my new film as well.
05:29 Of course, it's interesting to explore everything
05:32 in order to find and what's essential.
05:34 But technology often is also a distraction.
05:42 I have nothing against technology,
05:44 and I'm really fascinated with like artificial intelligence
05:48 and VR.
05:50 I'm fascinated with everything.
05:53 I just think that
05:55 not knowing is part of making cinema.
06:00 For me, it's important not to know certain things
06:06 and to test the boundaries of an image.
06:09 And what bothers me
06:10 is the standardised image
06:13 which is achieved through some standard quality of technology.
06:19 I think that that's the problem for me,
06:21 not the technology itself.
06:27 I think that cinema can only be radical now
06:30 because... With radical, I don't mean shocking,
06:33 I don't mean provoking,
06:36 but radical in cinematic terms.
06:40 I remember that Kiarostami was saying that
06:43 good film is the one that allows you to fall asleep
06:48 and wake up and not miss anything.
06:50 I think that's radical.
06:55 Other than cinema, I really need to see photography,
07:00 and of course, experimental cinema
07:02 and video installations
07:05 and sound.
07:06 I have a fascination with image and with sound.
07:11 And, you know, it's interesting that
07:14 image has a sound.
07:16 We don't need to hear it, but when you look at the paintings,
07:20 for example, in MoMA, I went to see Turner’s exhibition,
07:23 and I was absolutely fascinated
07:25 because to me his paintings have sound.
07:28 And it's strange because the way
07:30 I learnt how to write,
07:32 my grandmother was teaching me writing when I was a teenager,
07:35 and she taught me how to write from paintings.
07:39 She showed me a painting or give me the catalogues of paintings
07:43 and would just say to describe what's in the painting.
07:48 And the moment you start to describe, and describe not just in it what was,
07:54 but to really go into the world of the painting, you start to hear it.
07:59 And apparently Nabokov started to write it like that.
08:04 At least, she used to tell me that
08:07 and she was testing this method on me.
08:19 It was very useful and inspiring because,
08:21 for example, when I went to Chillida Museum.
08:28 It's the first time I started to think about proportions.
08:33 And I was like, looking at this sculpture in a museum
08:37 which looks really large when you come close.
08:40 But when you look in perspective of the trees next,
08:43 trees are huge.
08:46 And that realisation, which is very simple on one hand,
08:53 like triggered so much for me in thinking about an image
08:56 in my next in my new film:
08:59 the relationship between everything created by humans
09:04 and the world we live in, the world itself.
09:10 And that's why this 'Comb of the Wind' is so important for me,
09:14 because of the cosmic relationship
09:18 that this art piece cannot exist without cosmos,
09:22 without the world.
09:24 And I don't know how is it possible to think about it in terms of cinema yet,
09:27 but I know that it has very profound influence
09:30 on what I'm doing at the moment.
Tabakalera-denbora | Vincent Maraval
09:44
Tabakalera-denbora | Uxue Alberdi
08:14
Tabakalera-denbora | Ted Hope
08:54
Tabakalera-denbora | Susanna Tesconi
09:20
Tabakalera-denbora | Ricardo Díez Muiño
11:15
Tabakalera-denbora | Niño de Elche 08:48
Tabakalera-denbora | Maria Ptqk
09:47
Tabakalera-denbora | Marcos García
08:49
Tabakalera-denbora | Jone San Martín
10:07
Tabakalera-denbora | Jon Cazenave 07:43
Tabakalera-denbora | Javier Pérez Iglesias
07:49
Tabakalera-denbora | Isabel Herguera
11:12
Tabakalera-denbora | Helena Taberna
08:28
Tabakalera-denbora | Frédéric Martel 09:04
Tabakalera-denbora | Eva Sangiorgi
07:55
Tabakalera-denbora | Christine Vachon 07:26
Tabakalera-denbora | Celia Rico
08:30
Tabakalera-denbora | Esther Ferrer
12:43
Tabakalera-denbora | Beatriz Setién
05:15
Tabakalera-denbora | Marina Garcés
07:34