My film works for exclusively cinematographic reasons. I try not to place too much importance on the fact that I've caught the attention of all of these festivals.
Having been invited to San Sebastian, Vancouver, Sao Paulo and Seoul, you've practically become an international film festival specialist.ĪS. The first image you see is the first thing we shot.ĬF. Moreover, we shot it virtually chronologically. In my film there was never a preliminary rehearsal. The truth is that I have learned a bit from Passolini. While shooting the film I had some scenes, some camera movements that I wanted to use, and that determined the dialogue topics, which the actors could develop with greater or less freedom. That's why I've used a very intuitive work system. I have a background in science, and for me it's almost a tendency to force myself to find new faces, new sensations. Another of your daring moves as a new filmmaker was your decision to work with non-professional actors.ĪS. It's a question of little details that help me shape this ambience, like for example, the fact that one of the characters always looks up to the sky, while the other always looks down at the ground.ĬF. Everything is expressed visually, with no particularly narrative resources. Through simple fragments, I have created a specific, expressly ambiguous and vague atmosphere. Actually it is a metaphor that randomly runs through the book and allows the viewer to go along with them. The film aims to portray the spirit of the two main characters. It's an adaptation of the spirit of Quixote. How do you describe Honor de cavalleria?ĪS. The reviews are fantastic and the critics seem to agree in classifying your first film as a masterpiece. Even though the film was featured at the most recent celebration of the Quinzaine des Réalisateurs, French audiences were able to see the film this year. I also like to look to Bresson, to cover the religious, mystic themes or ancient or classical subjects.ĬF. Like him, I decided to make a film with non-professional actors, limited resources and in natural settings. This was precisely the case of Passolini.ĪS. When a new filmmaker appears and reaches certain goals, as is your case, it is inevitable to hear the countless influences that some of the critics see in his/her work.
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