00:00The Tragedy of Othello is the title that has reflected for too many centuries
00:06a conviction that depended on the aura of a romantic hero that Othello had.
00:14He was the man who was forced to kill for too much love, because he had been deceived.
00:19In 2024, doing this reading would be criminal.
00:25So I thought I would also call it the Tragedy of Desdemona, because it really is.
00:28It's the story of a man who kills a woman, an innocent woman who is massacred for no reason.
00:36And then we decided to give this title, I'm not what I am,
00:39but a phrase that says Iago and that concerns all the characters.
00:43Within me, the work I have done, not only on the character of Iago,
00:48but also on the whole film, is a work of introspection.
00:52When you make these films, you can't help but ask yourself if in life...
00:57I know for a fact that I've never been violent, not even remotely, with a woman,
01:02but I asked myself if sometimes, unconsciously, I had some male or patriarchal attitude,
01:11without realising it.
01:14And so it was a nice journey in my education, my culture,
01:20the way in which I was taught and educated.
01:25My relationship with fragility has never been as conflictual as it is now,
01:30because I've had figures, I think,
01:36because I've had figures of educators, and I'm not just talking about family,
01:43but also at school, of people who exercised a fascination on me without being authoritarian.
01:55I grew up in a family where men had no need to assert their virility.
02:02So the concept of fragility, I've never seen it as a diminution,
02:08as something negative.
02:09It has always been part of my character, of my sensitivity,
02:15and it's one of the things on which I've written perhaps the most films.
02:20So it's always been a side of me that I've accepted quite consciously.
02:28I think that I'm not what I am in a film, and I'm discovering this.
02:33Even these days, I see a lot of people coming out of the theatre quite upset,
02:39because I hit them in the face.
02:42What is a real, raw femicide, not a romantic reconstruction?
02:49This is the only thing I think I can do, and I have to do it through my work.
02:53November 25th is a day that absolutely has to be celebrated.
02:59I think, and I've been saying this for a long time, but I'm saying it for myself,
03:04that I can't just celebrate it by posting on Instagram or writing something on Twitter,
03:12but I have to make an effort to do something with my job.
03:16I have to make an effort to make a film, and I can't do it with a post,
03:19if I want to talk about that.
03:23The problem is that we can't talk to the men.
03:25We can't talk to the young people.
03:27Even in the tours I've done at universities, there were only a few of them.
03:34Even these days in the theatres, there are a lot more women coming,
03:37and often they're already sensitive to the subject.
03:39We struggle to get into these young people's heads on certain issues,
03:48and we all have to question ourselves as a society,
03:50because I might have the solution, but I don't.
03:52I feel them around me, I feel them on the street, I read them on social media.
03:57You can't pretend it's not like that, right?
04:00Now they call it catcalling, right?
04:05I'm not in favour of catcalling, but they call it useless insults on the street.
04:16They call it vulgarity, it doesn't make sense.
04:20Yes, I think this is not a prerogative of certain environments.
04:28Unfortunately, this type of vulgarity is transversal throughout society,
04:34from the bourgeoisie to the periphery, it affects everyone, in all environments.
04:40There's this desperate masculinity.
04:46I saw at universities that 80% of the students were female,
04:52and then in the front rows there were all the professors, and 80% were male.
04:56So you can't understand what happens in the transition
05:00between studying and taking an important place in society.
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