Women filmmakers who sculpt time

Women filmmakers who sculpt time

Tuesday 10 de November 2015

A day of outstanding women filmmakers at the Seville European Film Festival. In the morning, the directors Alanté Kavaïté and Sonja Heiss appeared at press conferences. The Lithuanian won the Best Director Award at Sundance with The Summer of Sangaile, a story of initiation about an introverted adolescent who, after meeting another girl her age, discovers the value of sensuality and gathers the courage to devote herself to what she truly wants. What did Alanté Kavaïté want to say with this film? "I wanted to make an expressionist film, that’s why the summer and skin color are so important”, she explained to the media.

For her part, Sonja Heiss portrays in Hedi Schneider is stuck a mother in her 30s with no interest in joining the adult world who suffers a panic attack and is pushed towards a desperate flight. “Social pressure on women is incredible: you fail all day at everything. My film tries to put an end  to that situation”, said the German director who, nevertheless, tackles these subjects without rejecting humour: “Life is a comedy. I can’t write without using jokes”.

Pascale Breton shared an aperitif with the media to talk about her Suite armoricaine, with which she won the Fipresci Award at the last Locarno Festival. A review of her own life trajectory in which the protagonist returned to her home city to teach history at the university where she had studied, that same one that the French filmmaker attended in the 80s: "The main theme of the film is how time flies. I was interested in reflecting on memory’s place within cinema, if it is more than a flashback". Breton, who pointed to the influence of Proust, Joyce, Resnais and Tarkovsky, spoke of the poetic aspect of the latter (and his way of sculpting time), in telling how she changed the version of the film which premiered in Locarno: "A film is like a sculpture of image and sound: each day that you observe your work, you see something different in it".

There is a lot of observation in the first film as director by Mauro Herce (responsible for the photography in films such as A puerta fría, Arraianos and Stubborn, shown at the SEFF 2015), Dead Slow Ahead, a striking film about life on board a cargo ship, with which he has just won two awards at the prestigious DocLisboa. The Catalonian filmmaker, who at a press conference with the rest of this team confessed to a certain “willful abstraction” in his film, said he believes in “a cinema of looks that doesn’t try to illustrate a theme; reality is complex”.

Yesterday also saw the beginning of the International Audiovisual Conference about the distribution of independent film projects, which will continue today Tuesday and tomorrow Wednesday, and can be followed on streaming on this website .

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