{"id":2532,"date":"2016-11-13T21:28:24","date_gmt":"2016-11-13T19:28:24","guid":{"rendered":"https:\/\/kouziproductions.com\/blog\/?p=2532"},"modified":"2016-11-27T12:57:11","modified_gmt":"2016-11-27T10:57:11","slug":"alberti-zickyte-about-women-directors-and-their-film-before-the-efa-awards","status":"publish","type":"post","link":"https:\/\/kouziproductions.com\/blog\/2016\/11\/13\/alberti-zickyte-about-women-directors-and-their-film-before-the-efa-awards\/","title":{"rendered":"Alberti & \u017dickyt\u0117 about women directors and their film before the EFA awards"},"content":{"rendered":"

\"maite-alberdi\"<\/strong>How did you collaborate? What was it like working together?\u00a0<\/strong>Maite: Through research we knew that, in the first stages of Alzheimer, early childhood is remembered. Based on theory, we imagined what would happen to an immigrant with Alzheimer. We hired a journalist who went to all nursing houses in Santiago and sent us a description of some 50 characters. Josebe was one of those. Her memory worked as we imagined, but it was an intense character, with a unique personality, which we would never have written, not even for fiction. She was our guide, which made this co-directing exercise flow with her.<\/p>\n

Giedr\u0117: Before coming to Chile I already knew, not only what Josebe looked like but also her likes and dislikes, where she lives, her daily routine, how she reacts, and this extensive research helped me and Maite to predict certain moments and when was a good time to turn the camera on and wait for a miracle to happen.\u2028In the beginning, we considered re-creating the character\u2019s past in fiction. When we started filming, we realised that reality gives us more and is far stronger than fiction!<\/p>\n

Watch the trailer\u00a0\u00a0vimeo.com\/146804030<\/a><\/p>\n

What is the message that you want to get across with this documentary?
\n<\/strong>Maite: We want to explore how the past determines us, even when we are unable to remember what happened yesterday. Alzheimer\u2019s erases the present, but often our lives\u2019 milestones remain alive in our minds. This is an exploration of how the past coexists with the present, creating a new reality from daily observations, a different, lucid portrait of mental illness, with humour and joy.<\/p>\n

How did dealing with the issue of ageing, memory loss, Alzheimer\u2019s disease<\/a> and vulnerability affect you?
\n<\/strong>Maite: I think it posed a constant question for me, what I am going to remember if I lost my memory, where I am going to live in my mind. In fact, I have already lived the first part of my life, so I will probably not remember anything from here to my old age. That is weird, how we are determined by our childhood and adolescence: for example, during research it was amazing for me to see how people with Alzheimer who got married twice, think that the person that is taking care of them is their first wife\/husband. Working with these issues gave rise to questions in my mind that I did not have before; it is not a concern for me \u2013 it is more a reflection on what I am going to remember.<\/p>\n

Did this experience change you?
\n<\/strong>Giedr\u0117: If you don't change while making your film, then there is no purpose in doing it \u2013 it shapes your life completely. Making this film, I asked myself, what is the most important thing in life? Another interesting thing is that it was for me a new environment, a new country and language, and what helped me to identify I think was Maite, and this was a very nice experience.<\/p>\n

How do you get your film(s) funded? (Is it a studio film, a crowdsourced film, something in between?) Share some insights into how you got the film made.
\n<\/strong>Maite: The first stage of the film (research, development and shooting) was financed by CPH:DOX<\/a>. All editing and post-production was financed by the Chilean national film fund<\/a> and the Lithuanian Film Centre<\/a>.<\/p>\n

\"4g4a8271-2\"
The co-director of I'm not from Here Giedr\u0117 \u017dickyt\u0117 (Lithuania)<\/figcaption><\/figure>\n

What is the biggest clich\u00e9 about women directors?
\n<\/strong>Maite: That women directors speak about women\u2019s topics.<\/p>\n

Would you have any special advice to give to female directors?<\/strong>Maite: When a man asks, who do you leave your family with when you are working (shooting, or traveling for work), ask him the same question.\u00a0 Nobody asks men this questions. Why can\u2019t we have a normal life and work in the cinema business at the same time?<\/p>\n

How do you get your film(s) funded? (Is it a studio film, a crowdsourced film, something in between?) Share some insights into how you got the film made.
\n<\/strong>Maite: The first stage of the film (research, development and shooting) was financed by CPH:DOX<\/a>. All editing and post-production was financed by the Chilean national film fund<\/a> and the Lithuanian Film Centre<\/a>.<\/p>\n

Which is your favourite woman-directed film and why?
\n<\/strong>Maite: The Argentinian director Lucrecia Martel<\/a>, because she was my inspiration when I was a student. For me, she is the only director that works with fiction and it really seems as if it were reality. I usually feel the fake in fiction, but with her I totally believe in her world.<\/p>\n

Giedr\u0117: Sophia Coppola\u2019s<\/a> Lost in Translation<\/a>. Because of its intelligence, subtlety and director\u2019s trust in the audience. She is a brave director, and, what is most important, she explains by mood, gaze, atmosphere, touches, rather than words. From the avalanche of the current film industry, this movie is distinguished by its non-banal and ambiguous story until the very end, as we never hear what Bob whispers to Charlotte in the end. Indeed, it declines to polish all the details. This film I could watch again and again from whichever part of it. Sometimes, I deliberately start watching it from the middle. But, every time, watching it I feel catharsis, and this word I use very rarely, to be honest.<\/p>\n

On the featured image:\u00a0From left to right Producer Pato R. Gajardo, together with one of the two directors, the Chilean Maite Alberti, the editor Juan Eduardo Murillo and the Director of Photography Pablo Vald\u00e9s.<\/p>\n","protected":false},"excerpt":{"rendered":"

How did you collaborate? What was it like working together?\u00a0Maite: Through research we knew that, in the first stages of Alzheimer, early childhood is remembered. Based on theory, we imagined what would happen to an immigrant with Alzheimer. We hired a journalist who went to all nursing houses in Santiago and sent us a description … Continue reading Alberti & \u017dickyt\u0117 about women directors and their film before the EFA awards<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":2540,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[7,10,14],"tags":[569,566,567,82,568,571,572],"class_list":["post-2532","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-en","category-interviews","category-people","tag-chiledoc","tag-cphdox","tag-cphdox-lab","tag-documentaries","tag-efa","tag-idfa-docs-for-sale","tag-the-grown-ups"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/kouziproductions.com\/blog\/wp-content\/uploads\/2016\/10\/SANFIC-2016_5.jpg?fit=5184%2C3456&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7eMeT-EQ","jetpack-related-posts":[],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/posts\/2532","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/comments?post=2532"}],"version-history":[{"count":14,"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/posts\/2532\/revisions"}],"predecessor-version":[{"id":2698,"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/posts\/2532\/revisions\/2698"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/media\/2540"}],"wp:attachment":[{"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/media?parent=2532"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/categories?post=2532"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kouziproductions.com\/blog\/wp-json\/wp\/v2\/tags?post=2532"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}