Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk Dramatisk musikk ¿Qué has hecho? ¿Qué has hecho? Todo va a salir bien, Leo. Todo va a salir bien, Leo Todo va a salir bien Sabes que yo Nunca voy a dejarte solo Sabes que yo No puedo Yo así no puedo ¿Dónde coño está Víctor? ¡Corten! ¿Qué hacemos? ¡Enzo! ¿Pero tú quién te crees para hablarle así? ¿Tú sabes quién soy yo? ¿Y tú? ¿Sabes quién soy yo? O vienen cinco minutos o me voy. A ver, ¿alguien teSabes quién soy yo? O vienen cinco minutos o me voy. A ver, ¿alguien te puede dar la réplica? Cinco minutos o me voy. Es Víctor. Va a tener un accidente, no va a poder venir en tres días. ¿Tres días? Gulland, Norge Vale. ¿Hay alguien que se sepa el guión de memoria? ¿Nadie? Eloy Marco Amor Eloy ¿Alguna duda? Vale Vamos a robar Espera Tu sangre Tu sangre es mi sangre Solo la muerte la acabas tú Cortamos, es buena ¿Es buena? Los diálogos son un poco... Un poco bastante, sí. Creía que lo habías escrito tú. Sí. No sé cómo te has podido aprender de memoria. Me gusta saber cuando tengo que... Nunca me los aprendo enteros, pero... ¡Minutositos! ¡Lizana! ¡Vamos a rodar. Déjame solo. Vete. Sabes que yo nunca voy a dejame solo. Vete. Sabes que yo nunca voy a dejarte solo. ¿Qué haces? Cuando era pequeño, veía pelis de terror, los ojos cerrados. Que faces? Cando era pequeno veía pelis de terror os ozos cerrados e se me quedou E que consigues con iso? O oi é distinto non escuchas todo Probalo A ver Lo siento, Romeo Avalo? A ver... Lo siento Romeo, pero te amo. E a das flores? Por ti. Va, toma. Toma. Me está gustando lo de ser actor. Los actores vocalizan. Me está gustando lo de ser actor. Qué asco. ¿A ti te está gustando lo de ser actor? Bueno, exigencias del guión. ¿Ser director te gustó? No lo sé ¿Cómo que no lo sabes? Hay días en los que pienso que debería seguir trabajando en el súper donde estaba Y otros en los que creo que estoy haciendo el trabajo más bonito del mundo ¿Y hoy qué día es? Chisana, cógelo. Espera. No cortes. Los ojos. ¿Por qué? ¿Así? Más seguro. ¿Por qué? ¿Así? Más seguro. ¿Por qué? Mejor. Pero piensa que cuando se lo vas a preguntar, él no te va a responder. ¿Por qué? Así. Te lo estaba preguntando de verdad. ¿Por qué cree que no le va a responder? Buena pregunta. ¿Por qué tú lo has mirado a los ojos? Y los ojos nunca mienten. Tú tienes ojos de actor. ¿Tenemos una más? Me encanta escuchar el mar. ¿Y qué te dice? Que mañana es el último día. ¿Qué es? Es que mañana es el último día. ¿Quieres ensayar la escena de mañana? Es la escena 19, ¿no? Sí. ¿Y tú quieres? O sea... Sí. Estoy esperando que digas acción, mal o mal. No. Acción. ¿Cortamos? Es bueno Es bueno Entonces nos queda la escena 19 Me parece que no va a dar tiempo ¿Nervioso? Yo Eloy, para ¿Nervioso? Yo. Eloy, para. ¿Eloy? Tres días y ya te has olvidado de mi nombre. ¿Pero qué haces aquí? Buenos días, Víctor. ¿Qué tal? ¿Cómo estás? ¿Ya te has recuperado del accidente? He venido con Ana. Ana. ¿Pero quién es Ana? La productora. La que nos ha llamado mil veces. Pero... Está con tu amigo. Ana, no me digo en serio, que ya está. No quieres problemas. Te lo juro, Ana. Los actores son malos. Te hablo todo bien, ¿vale? Ana, no me jodas. Que no, Marco, que no. Ana, que el proyecto ya casi estará acabado. Me quedan dos escenas con él. Me da igual, que van a ser ellos. Ana, te lo pido por favor, joder. Que ya está, que ya está. Que de verdad, que quedan dos escenas, no me jodas. Y ahora es más el tiempo que me estoy pidiendo. No, de verdad. Mira, mira, de verdad te lo estoy pidiendo. Marco, yo te he dicho que no. De verdad, que ya está. Que ya casi lo tengo, hostia puta, de verdad, mira, mira, de verdad te lo estoy diciendo. ¿Vas a creerte que he dicho que no? De verdad, ya está, que ya casi lo tengo, hostia puta, de verdad. Hace nada No te conocía Y ahora mataría por ti Ojalá supiera cómo dejarlo ¿Por qué coño has hecho todo esto? Por tus ojos Porque cuando te vi me enamoré Y tú sonreíste porque lo sabías Y ahora mataría por ti Mataría otra vez por ti Porque tú haces que quiera ser mejor persona Y eso no ha muerto, lo acaba todo Porque tú y yo Somos los vírgenes ¡Montamos! ¿Es buena? Thank you. so Kjell Kjell Thank you. The The The The Norske Kulturskapet Femalene, kom igjen. Norske Lundforskning Nå er vi på veien til Norske Norske. Come on. Go, go, go! Kansai-matae Kjellstrand Nettokensis I'm going to make a The The Thank you. Storbritannia Kjellandes lindens lindens Sous-titrage FR? S.A. ¶¶ Thank you. The American Pronunciation Guide Presents ''How to Pronounce Mahjong Man'' Kau wabak! Kau wabak! Thank you. Thank you. Thank you. Succes! Vestasen Vågstavnsfjellet Nå er det en av de fleste stående stående i landet. Nettopp I'm going to make a Nå er det en av de fleste stående stående i landet. Norske Klinik Kanskje vi kan se på denne sida. I'm going to take a walk in the park. Norske Norske The Nettopp I'm going to make a fire. I'm going to make a fire. I'm going to make a fire. I'm going to show you the inside of the house. I'm going to make a fire with a firewood stove. I'm going to make a fire with a firewood stove. I'm going to make a fire with a firewood stove. I'm going to make a fire with a firewood stove. I'm going to make a fire with a firewood stove. Kjell Kjell Kjell Krona Storbritannia Kjell Kjell Krona, Lens flares are not very good for video quality. The The The The The Norske Norske Kjell Kjell Kronholm Norske Norske The Norske Norske Norske Kjell Krona, Norske Norske Norske Norske I'm going to take a short break and then go back to the hotel. Lundsjö Norske Norske Norske Norske Thank you. O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é o que? O que é que aprovecharlo, porque non sabes cando te pasas a morir. E eu ese día tine a todo preparado para ir á playa no dia seguinte e non fui á playa. Acabé na habitación dunha guana, na cama dunha uzi. E corri á esta casa e me vicino con as tijeras clavadas na cabeza. Que é o que só teño que hacer ahora non o hago. É o instinto animal. Me quede sorda dun oído por culpa deso. Non escucho nada do oído do izquierdo. Non noto a cabeza do lado esquerdo. Era vendres, de noite. O único que se escoitaba na nosa casa era a tele de fondo no salón e a nosa mía. Estaba todo preparado para ir á playa o día seguinte. Pero nunca chegamos á playa, non me deixaches. Levábamos xuntos tres anos. E un xa vivindo xuntos. Facíase tarde. Apagamos a tele e as luces, rumbo á nosa habitación. Casa miña ruína. Ali tiñas todo o teu apoio, as túas armas e a túa felicidade. Felicidade de verme só contigo, de que nunca puideres separarme de ti, pero sí da miña vida. Tiñalo todo planeado, o teu medo a perderme era tan forte que che daba todo igual, incluso matarme. Siguesme querendo, foron as túas últimas palabras a ser min. E zas, de súpeto, vexe-me atada pelo pescozo grazas as túas mams. Si, a mesma persoa que compartes a túa vida, ao que des ao outro lado da cama. Si, estábame intentando afogar, porque así só iba a quererlo a ele, para sempre. É unha persona maltratadora, fora na calle, fora da casa, é a persona máis boa do mundo, entón fora da casa, é a pessoa mais boa do mundo. Então fora não se deixa ver realmente a pessoa mala que é. As feridas que te fazem no corpo, dão-te uns dias, depois curam. As psicológicas tardam muitíssimo tempo, ademais tens que escutar muitíssimas coisas malas da gente. A cabeça tem muitíssimo trabalho, comes-te a cabeça a ti mesmo, perguntas-te porquê, porqute por que, por que non, por que si que fixen, que non fixen é o psicológico, pero se non tens un tratamento adecuado tardas moitísimo en recuperarte entón a cabeza tache por dentro comendo viva entón eu queria morrer que tuveera motivo realmente non o pensei pero que me senti un culpable moitas veces entón fan xeles que creas que eres o peor da tua vida, entón te sentes culpable por todo o que pasa ao redor. A tua vida tapa xa boca ao mesmo tempo que xa coa faena da fogar, para que así non te escoite ninguén. Escapame, e incluso chego a sair da casa, pero o home da miña vida querme demasiado como para deixarme escapar, e persígueme e píllame. Píllame e arrastrame por todo o xa, grazas a que me leva agarrada polo pelo. A miña pele roza todas esplanada de cemento, a cal xa deixe as pernas en carne viva. A miña pele roza todas esplanada de cemento, a cal xa deixe as pernas en carne viva. Cando salgo da prisión, claro que teño medo. Teño medo a día de hoxe, pero estou un pouco máis tranquila porque está dentro da presión. Pero que vai cambiar, non o sei. Dudo moito, creo que esa xente non cambia nunca. No momento, pensas que nadie te vai creer, pensas que nadie te vai ajudar, pensas que vai ser peor porque pensas que no momento que se entere el que pedixes ajuda vai ser peor, entón claro que me arrepinto, pero... Que esas persoas fan te creer que ti dependes emocionalmente deles e que sin eles non eres nadie na vida. Entón acabas creendo totalmente que se non estás con eles que non vales para nada. Quería morrer. Realmente non era enamorada, realmente era unha dependencia emocional que te fan eles, crean xo eles, para que ti non podes estar con nadie máis. E de súpeto, nótalo. Tres coitelos e unha tesoira atravesan o teu corpo a tan dez ocasións. Notas a dor do amor, ese amor que te está matando para que non ceses de nadie máis. O meu sangue comeza a correr polo meu corpo. Berro, unha e outra vez, que por favor que pare, que o quere, que non o vou deixar nunca, pero xa é tarde. Ao principio sempre é unha persona super buena, super detallista, carinhosa, pero pouco a pouco primeiro prepara-te psicológicamente, vai-te comendo a cabeza pouco a pouco e cando te a cabeza ben comida, empeza polo físico. Faxe sentir que eres o peor, que eres unha merda, que non vales para nada, que todo o mundo é moito mellor que a ti, que todo o malo que pase por a tua culpa entón acabas querendo que todo iso é verdade. A gran maioria apoiou-me, pero outra xente que decía pois non é pa tanto, faste moita vítima, non estuveches tan grave como de verdade dís, non era tan malo. E por primeira vez estou orgullosa de mentir. Si, mentinxe, fixe-me a morta, cando realmente estaba ainda viva. E foi a mellor mentira da miña vida. Oxe, alá se me ocorrera antes, aforrarieme algunha coitelada, que vos podo decir que doen, e doen moito. Tardas moitísimo tempo en darte conta que esa persona non te quere, darte conta que esa persona te estaba fazendo moito mal. Entón, eu ainda estando, cando entrou ele en prisión, dábame pena porque eu ainda tiña un sentimento hacia ele, que dizea, jolines, non fixo tanto mal. E tardé moitísimo tempo en darme conta que estuve a un puto de morrer por culpa dele. E desúpeto veste, con 22 anos, joder, eres unha puta cría, tes toda a vida por diante, e aí estás, na túa casa, na túa cociña, tirada no chano, boca abaixo, cunhas tes oiras clavadas na nuca e afogándote no teu propio sangue. Darte conta que estás nesa situación é súper complicado, pero moi complicado. Entón, primeiro, te lu que decir, dicir yo a alguén de confianza. Pero é que é moi complicado salir dunha situación así sola. Entón, pedir axuda aos psicólogos, hai un millón de centros de axuda a muller que dan axuda completamente gratis. Non quero morrer. Vou morrer e a miña nai non vai saber nunca o moito que quero. Ora, digo a miña nai que a quero casi todos os días, quero moito a miña familia, intento pasar os bons momentos casi todos os días e non esperar ao día de mañão. O amor non doe, pero hai amores que matan. A Ale é unha chica de 27 anos que antes estaba sumida nunha vida bastante negra, e ora é unha chica bastante forte, botada para diante e con moitas ganas de vivir. Субтитры создавал DimaTorzok Thank you. La Breaha Holidicht! La Breaha Holidicht! La Breaha Hon Marie! La Breaha Holidicht! Make a bush! Hooray! Bye Marie, see you soon. Bye! Thanks for having us, Marie. Thank you for coming and for the presents! Forgot to give you your present. It's a bit small. It's a calligraphy pen. You can do some really beautiful writing with it. I know you have a lot of notebooks, so. Thank you. You're welcome. I'll see you soon. Bye. Do you have makeup on your eyes? Yeah, it's eyeliner. I bought an eye pencil. Cool. I want an eye pencil. Cool. I want to be a writer. Where did that come from? Louis gave me a calligraphy pen for my birthday yesterday. I think it's a sign. And before I even got it, I wished to be a writer when I blew out my birthday candles. You're not supposed to say what you wished for. Oh, yeah. Otherwise, it won't come true. Marie, can I borrow a pen? I only have this one. Can I use it for one second? Ooh, it's a fancy pen. Shut up, a pen. I only have this one. Oh, can I use it for one second? Ooh, it's a fancy pen. Shut up, Odie. Remember when you tried to sharpen my mechanical pencil? Yeah. I'm not trusting you with this one. Ugh, I'm fine. A writer? Yeah. Do you think I'd be any good at it? I don't know. I haven't read anything you've written. But I can, if you want. I haven't written anything yet. Well, you'd better get started if you're going to be a writer. I said I want to, not that I will be. Touch wood that you will be. It's for luck. Touch wood that you will be. It's for luck. Touch wood. Dad, how did you know you were going to paint people's houses when you grew up? Well, I didn't know. I just fell into it as a teenager. So you were destined for it? Maybe. Why do you ask? I just want to know if I'm destined to be a writer or not. Oh, well, I'm sure you are. I'm sure it's written in the stars. Can you start calling me Marigold? No. Why not? Why would you want to be called Marigold? Marigold Pollock sounds like more of a writer's name than Marie Pollock. It's a thing. It's called a pen name when writers make up names for themselves. You still want to be a writer then? Yes. Well, you better not change your surname. I want people to know that we're related when you're famous. Time is ticking! Your moon is getting smaller, do you see? There's only so long left before... Marie! Marie! Do you want to play? No, I'm writing. And you have to call me Marigold now, it's my pen name. Oh, cool. Touch No, I'm writing. And you have to call me Marigold now. It's my pen name. Oh, cool. Touch wood, Marigold. We have to keep going. That villain is hot on our tail. Barry, you doing your homework? Yeah. Thank you. Marie? Marie? Marie? Marie? My God. Marie! Sorry! I can't believe we're going to meet a real writer. And she's American. Maybe I can talk to her about... You really think she're going to meet a real writer. And she's American. Maybe I can talk to her about... You really think she's going to notice you? There are loads of us, and you don't look special, Marie. Marie Gold. Who cares what Odie thinks? She's got the same name as the dog from Garfield. Thank you so much for talking to the class today. No problem. Do you have anything else to add before we wrap up? Does anybody here want to be a writer? Only one? Well, I'll tell you something. When you're an author, you make about a euro per book you sell. So you have to do it for the love. Did you see... Des, did you see my pen? You can't find it. No, I left it on my book. It's probably on the floor somewhere. Odie, did you take my pen? What? My calligraphy pen. It's not funny. I want it back. Don't be stupid. I haven't got it. I don't see it on the floor. Can I go to the bathroom? Sorry. That's alright. Are you looking for something? My pen. My calligraphy writing pen. I think I dropped it. Oh. I didn't see a pen on the way back from the hall. I have to go. Hope you find it. I thought you had the pen in school today. I did. I just want to make sure. Ah, Mary, don't make a mess. Mary Gold. You can use another pen for tonight and look for your nice one at school in the morning. What if I don't find it tomorrow? You will. It can't have disappeared. It disappeared. Are you sure? I've looked everywhere in the classroom. Things disappear a lot when you're our age. Socks and school things and toys. I still haven't found the Lego set I got for Christmas. It vanished before I opened it. You can get another pen though. That's not the point. I know. Can I read it so far? No. Why not? It's not done. Come on. No. What are you reading? Give that back. Ooh, it's a diary. It's not a diary, it's a book. A book? Give it back to her. By Marigold Pollock. That's gas. Hey, I want to have a read of it first. Camilla Moon was sitting at home on a very boring, very normal Tuesday when she made up her mind to run away from home. Her stepmom was out shopping so she packed a bag of peanut butter sandwiches and tied up her hair with a green ribbon to match her emerald eyes. Stop it! Did you draw pictures? How does it end? Does she find her real mum? Oh, hey, I was only having a laugh. No. You ruined it. She pushed me. Marie, I'm sorry. Marigold! Marigold! Marigold! Marie! Thank you, but I don't want this. Huh? You can have it back. But I thought... Just take it. Can you wait here for a minute? Excuse me, um, you came to a talk at my school a few days ago. Ah, yeah, you're... the aspiring writer. Can I ask you a question? Sure. What if I'm not supposed to be a writer? Nobody in my family is a storyteller. I don't think I'm even very good at it. There are loads of signs telling me that I should try something else. What if my destiny is to be a plumber or something? Do you want to be a writer? Yes. Why? Because I love it. Then it's your destiny. I can't tell you if you'll be successful or good, but wanting it for a good reason is the best place to start. That's the only real sign you need. You have to write it in the stars yourself. But I lost my nice pen. You don't need a nice pen. Use a biro or an Ikea pencil and write. What's your name? Use a biro or an Ikea pencil and write. What's your name? Marie Pollack. Ha! Sounds like a writer's name. Good luck, Marie. The Takk for at du så med. Thank you. I'm going to make a Thank you. I am the light of the world. I'm sorry. Все началось поздним зимним вечером. Сумерки сгущались над городом. Убогие кафешки утопали в тухлом свете неона. А топорные советские крыши потеряли дневную краску. Вроде как я шел в магазин. Улицы ниже, удивительная гладь белой скатерти. Улицы выше, и вся грязь к нилых сердец всплывает наружу. Под домом идти каких-то минуты три. Вдоль затерянной сквозь серых домов тропинки я шел однозначно потерянный в себе. Соседние улицы наверняка еще оглушены сигналом машин, мчащиеся серыми пятнами вдоль улиц. А здесь удивительная тишина и спокойствие. Чем ближе я подходил к заветной двери, тем дурнее становилось на душе, будто вот-вот что-то должно было произойти. Бей его! Часы срывай! Давай быстрее! Где его кошелек? на душе будто вот-вот что-то должно было произойти и его кашляк черт часы снег уронил где они Вы никогда не задумывались, что ваша трехминутная прогулка до ближайшего варька окажется последней? Помогите! Помогите! Я... Я не помню. Головная воля насыпалась запахом лекарств. Я не разочаруюсь. Это что, больница? Голоса, смазанные очертами людей, меркают мимо глаз. Стены вешены странными фотографиями. Продолжение следует... поле пополам. Глаза теряли фокус. Бесконечный поток кадров не прекращался. Мозг перестал осознавать реальность. Может, то и не зима была вовсе? По телу побежала греющая дрожь. Я огляделся. Мир постоянно искажался вокруг меня. Всплывали кадры близких мне людей. Я не мог вспомнить их лица. Меня кидало по временной спирали то вперед, то назад. Холодом сменялось лето. Менялась и искажалась обстановка. Неподалеку от себя я увидел окровавленное тело. Где-то из сугроба доносилось пеликанье наручных часов. Я перевернул тело лицом к себе и наконец понял. Последние часы были мимолетным видением моей собственной смерти. В соседней улице наверняка еще оплошные сигналы машин, мчащиеся серыми пятнами вдоль улицы. А здесь удивительная тишина и спокойствие. Thank you. Hello and welcome to one of the online Q&As that Yuki is producing for this year's Festival Edition. I'm very happy that I'm here today with Manu, who is the filmmaker of the film The Virgins, that is presented at YTC or the Film Competition. Thank you very much for taking time. I will start right away with the first question. Your film is a fragmented story about two persons falling for each other in a situation that is actually the result of chaos or emergency situation and I would like to ask you how you came up with this story and if you would say that your film is a love story I think it's more like a kind of love story not really a love story in a traditional way. This is my final degree project from college. I did some shorts before but they were more broad or more you know, the themes were more serious. We can say that. And I wanted to do something more naive in a way, something more cute. And you know, I think that I always like metafictional movies you know movies inside movies and this stuff and I thought there was an interesting background to to sit the to put the two characters in it because basically it's not love story but it's the beginning of a story between the two characters. And this is something that I like, that should not be really clear if it's one loves the other or the other loves... You know, I wanted the audience to think about what is really happening inside their minds. This actually leads me to the second question because in the end you completely shift the perspective on the film again. And I wanted to ask you why you decided to add this extra layer to the story and what does it mean to you? I actually don't know why I do it, why I did it when I wrote the script. This is actually the last shot we shot. And we didn't shoot in chronological order, but this shot was the last shot. And, you know, the team was like, what is happening here? Because none of them didn't read the script. And, you know, even the actor, Farang Rao, made up the line because in the text and in the script, there wasn't any line just to start to to the camera but I think that you know in my college you have to do like a university research project apart from the short film. And I did myself about metafiction, metafiction in films and et cetera. So, you know, I like to be like, you know, we're doing metafiction, we're doing metafiction in a movie, in a movie, in a movie, in a movie. And I like that too. And I feel that you can also think that because we difference the movie itself on the other part, because we should one in analog and the other in digital but if you rewatch it there is scenes in the middle when they are the two of them talking that you don't really know if this is the other film or is they are breaking the break and they are talking like I think that's interesting to see the film in that way too. Thank you very much, Manu, for taking time and for giving us this little but very precious insights into your work. Thank you. Yeah, thank you. Thank you. Hi and welcome, Katharina Pichler. Katharina, you're the filmmaker of Murmur. It's a film that lets us listen closely to what is normally doomed to be overheard. It's background noise. In fact, what we hear in your film are both human produced noise, urban noises, but also natural noises. And they're not really easily distinguishable. They melt into each other. They imitate each other. How do you see their relationship and how did you approach this relationship in your film? One aspect that really interested me was that also through my work, the last three years, I've been doing a lot of sound for documentary films. And there's always like a wish for naturalism and fidelity but even in documentaries there's so much post-production and so much of what you hear is not actually from the physical side so for me this was something I was just interested as a sound designer but also as a filmmaker that as a sound designer but also as a filmmaker this idea what what happens to the actual acoustic sites in movies so my approach was a bit to say I want to try to collect as many sounds as possible at the specific sites and try to keep it as much as possible as it was in the moment and just then kind of see what evolves from that and not like interacting too much in the situation. Yeah so this was I think my approach and what the other aspect was I didn't wanna there's like certain sounds that we would really quickly consider as noise that's like when you think of like industrial sounds or cars and stuff like this and I was not so much interested in kind of saying okay this is like nice nature quietness and this is the industrial noisiness I was more like just picking places and then trying to see what is there and what do we really hear and I think maybe that's why it kind of connects in that way because it's often like places where I think nature and humans meet in some ways not always but very often but I tried to not alter it too much if that makes sense. So just to understand you correctly that means all the sounds were recorded outside but does that also mean that all the images we see correspond to the sounds we hear? Exactly The only scene where it's not like that is the last one, where we hear this music and these really loud bells. So this recording was kind of separate to the rest, but everything else is connected in that way. So I was not able to always record surround sound on the spot, so I kind of tried to make a framework and for me it was that I would I could like I would always record while filming have to like sync sound to it but then also collect additional sounds and have additional to each side, like a small field recording library. And from that, I kind of tried to recreate it. So there was kind of a rule that I tried to set for myself because I also thought sometimes it's interesting to kind of set boundaries and then see what comes from it. So thank you so much for sharing these insights and your ideas and thoughts on the filmmaking. Thank you. Thank you. Hello and welcome to an online Q&A made for UKEE, the National Youth Media Film Festival. I'm very happy that I have the opportunity to talk to Seyed today, the filmmaker of the film called Untitled. Thank you very much for being here today. I will start with my first question to you, asking a bit maybe about the language of your film, because you use a very, very poetic language and you work with a lot of symbols. very poetic language and you work with a lot of symbols um and i would like for you maybe to explain me a little bit what story you tell with your film and um what the red light and also the red flag and also the path to this red flag means to you yeah uh in my opinion uh the film said what it should say. You know, if the filmmaker said what the film wants to say, the film has lost its connection. I don't want to speak about it. I just want to speak about what I wanted to do. You know, it's a goal or it's a purpose that we live for it. But sometimes we forgot what we should do with that. But this purpose makes us to go for it, to just walk and be in the line. In my my opinion being in the line is most important thing in the world thing in our life because just standing somewhere and just do not do anything what can i do what can make us for living it's not the purpose in my opinion. I think, or I believe, it's better to say, I believe this movie or this film is a very personal piece of my character that I believe if you should go, just go, just do it. Just stand up and in the line, just walk through over the problems, whatever you call it, the bands, whatever you call it, whatever it is in the world. Just go and do it, what you should do. go and do it what you should to do if you believe in your opinions if you believe in this world what you should do and this film as you said I use very symbols because just the symbols language are very exciting for people, for every kind of human being. Because if you watch it from Austria and I made this film in Iran, you have your idea about it. And I did it in my opinion, I did it in my way. And that's it, in my opinion, I said that's it. Thank you very much for your answers and taking time to respond to my questions. I recommend to everybody to watch your film and I wish we had more time to talk about everything but this was a short insight into your work and thank you very much. insight into your work and thank you very much. Hello everyone. I'm Laurenz from the Yuki film program team, and I'm speaking to two of the three directors of One Call Away, Miriam Bello and Andres Curso, and this is your first film project and my first question to you is, Breathe is a moving and disturbing film documenting the struggle of a violent relationship. Yes. And can you tell us a bit about how you first met with Noelia Miguez, the film's central character, and why you decided to make a film that focuses on her testimony? a film that focuses on her testimony. The other director, Miriam, knows Noelia Miguez, and we decide to did a film that count her story because we think that we live in a society think that we live in a society where unfortunately men have more power than women and this has to change. Nowadays it's necessary to the feminism and we think that with this film we can show that this is a problem that is real and that we have to change. This has to change. we think that it's more... Impactant? Yes, it's easier to... To show people that this is a problem. That exists, and it exists. I don't know. That's a very important topic you've included or incorporated in your film. Thank you very much for talking to us, to the Yuki team, and I hope that we will see more projects of you in the future. And till then, have a nice time. Thank you. Thank you. Bye. Hi Nikita, what's behind the idea of making a film mainly out of photographs? So the main idea of the film is, of course, the visual narrative through photographs. In my understanding, it was very important to show the state of the hero as a divided, fragmented consciousness. To be honest, this film is a very straightforward plot and the angle of the story was made precisely on the visual perception of the hero. The most important was, you know, like his mind. This is more about how the memories are cared in moments like sparks. You know, I wanted to show this, you know, moments like, something like this, like sparks. And in cinema, in the medium, photographers plays an excellent role in the sparks of consciousness. And this film is mostly perceived as a kind of flash rather than a solid plot. Yeah, that's what my film was about. That's very cool. Another question, is there like a deeper meaning of the point at which the images like turn into moving images? Well, it's a good question. Yes, of course, there's a reason. Here's a very important moment to show the perspective of this perception. Well, to be more clear, we watched this film from the point of view of a hero who has experienced a deadly journey in the form of fragments of his memory as i said above and while at the end we return to the streets from which the story comes and there is rather open ending with the question you know on behalf of whom or what is the final movement so it's like an open-ended film nice and what is your connection to this very poetic and estranging depiction of a night so do you have like a personal connection maybe or something else oh yeah of course it comes from my personal experience. I have encountered such a phenomenon when night people, you know, people at night become more uncovered and more sensitive in front of you. They're like more open-minded. So here I think it was very important to show the night from this point of view. I tried to make the text of the film like a monologue, floatly, you know, like something like mist and kind of winter nebula together with the hero memories. And thus I wanted to show the frankness of the hero and his emotions in front of the audience. So that's it. Thank you so, so much for your answers for taking time bye goodbye you