Outlook’s Debanjan Dhar speaks with Lebanese filmmaker Cyril Aris about A Sad and Beautiful World, Lebanon’s official entry for the 2025 Oscars. Aris discusses how the film’s story evolved amid Lebanon’s political and social upheavals, shaping both its emotional and cinematic language. He reflects on the dynamic between the central characters, Nino and Yasmina, whose contrasting perspectives on love and hope reflect Lebanon’s own tension between optimism and despair.
Aris also explains how food functions as both a cultural anchor and a storytelling device, mapping the couple’s journey and the country’s shifting identity. He speaks about working with long-time collaborators like cinematographer Joe Sade and the challenges of balancing artistic authenticity with limited resources during the Oscar campaign. Through it all, Aris positions A Sad and Beautiful World as a deeply personal yet universal exploration of love, resilience, and belonging.
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Aris also explains how food functions as both a cultural anchor and a storytelling device, mapping the couple’s journey and the country’s shifting identity. He speaks about working with long-time collaborators like cinematographer Joe Sade and the challenges of balancing artistic authenticity with limited resources during the Oscar campaign. Through it all, Aris positions A Sad and Beautiful World as a deeply personal yet universal exploration of love, resilience, and belonging.
Follow us:
Website: https://www.outlookindia.com/
Facebook: https://www.facebook.com/Outlookindia
Instagram: https://www.instagram.com/outlookindia/
X: https://twitter.com/Outlookindia
Whatsapp: https://whatsapp.com/channel/0029VaNrF3v0AgWLA6OnJH0R
Youtube: https://www.youtube.com/@OutlookMagazine
Dailymotion: https://www.dailymotion.com/outlookindia
#CyrilAris #Lebanon #OutlookIndia #LebaneseCinema #SadAndBeautifulWorld #Oscars2025 #FilmInterview #Filmmaking #CulturalDialogue
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00:00You know, for me, I love when film activates the sense of taste, because I think that, you know, films are primarily based on, you know, sights and sounds.
00:13Yeah, yeah, exactly. And I felt that, you know, activating a third sense can really bring, you know, add a lot to the experience and can really bring Lebanon to your taste buds in a way.
00:30Welcome to Outlook Talks. Today we have with us Sari Ladis, the writer and director of A Star in Beautiful World, which premiered when I was very happy to see it and I was blown away by it.
00:44And now it's Lebanon's Oscar entry. Before I speak to you, Sari, let me just say this film is so full of zest for life and love and such beautiful contradictions, which I haven't seen in a film recently.
00:56So I feel I had to speak to you. So thank you for giving me time out of your Oscar campaign.
01:02Thank you very much. Thank you for, you know, watching the film and reviewing it. And, you know, I look very much forward to talking to you now.
01:08Personally, I want to say that at the heart of this epic romance, there is this push-pull between optimism and despair, cynicism and hope and letting go of and sticking on.
01:19But tell me how you found that particular meter, the measure of, you know, Mino's hope, which may seem a little too deletional and too escapist and just, I don't know, out of reality at times, and Yasmina's cynicism, which also could have turned very, very bitter.
01:36And how the two reflect off each other and evolve. So tell me a little bit about that.
01:40Yeah, you know, it's, I think that they stand at polar opposites of the spectrum, under which we all fall, you know, and I think that in Lebanon specifically, we are very much affected with the, you know, what's happening around us, whether it's, you know, the social context or the political context, or even sometimes the regional context that's happening around us.
02:08And that shapes, somehow, our relationship towards our country and even the dynamics of our own relationships.
02:18So, you know, you can see that Yasmina has some, you know, cynicism and some pessimism, but it's not completely unjustified.
02:28It's very much rooted with how she perceives the world because, you know, because of how the world treats her.
02:34Him, on the contrary, I think his optimism is, you know, could be qualified as delusional sometimes, but I think it stems from some sort of compensation or some sort of a reaction towards the same facts that are turning Yasmina into a much more cynical person.
02:54But, you know, interestingly, I think we all fall, you know, anywhere between Nino and Yasmina, and even themselves, they kind of swap places along the film.
03:03Yeah.
03:04And we can see how he, you know, how this relationship actually brings the best out of them, but also it brings sometimes the worst out of them.
03:13But in working with Munya, you know, this character could also be, at times, a little bit too detached from everything that's around.
03:22And how much of that, you know, she brought in, like that sparkle in her eyes, this kind of beautifully comes alive.
03:28And it's interesting you're mentioning this because it was the main criteria that I was looking for when I was looking for an actress to play this role.
03:38And the main reason why I went for Munya is exactly for what you're saying, because, you know, even if she puts like a mask or like a, you know, or a facade of a very cynical person that's very distant and aloof, we can always see that spark in her eye and almost that childlike innocence that is just waiting to be reignited.
03:59And there's only one person in the world that is able to do that, and it's Nino.
04:04And, you know, when you see the effect he has on her, you kind of understand why she would fall head over heels in love with him and why she would change all of her plans multiple times along, you know, along her journey just to be able to pursue that love and to fulfill what seems to be a predestined fusion and relationship
04:29that has been set since the first, you know, second of the film.
04:32I know Munya has been a friend for more than two decades, but how was it hard to convince you because she's primarily a director and how was that?
04:41Yeah, yeah, yeah, yeah, exactly.
04:42She is, you know, like, you know, mostly a director and this is her first role in a, you know, in a major, in a, you know, in a big part and in a feature film.
04:53So prior to that, she had done some, you know, some short films here and there, and I was always very drawn with her performance in all of these shorts.
05:04So it did take a bit of convincing, but because, you know, for her, it wasn't just, you know, concern of her, you know, throwing herself into this adventure,
05:17but also, you know, she kept telling me, like, I do not want to mess this up, you know, I, you know, I want to do justice for your character
05:22and I'm afraid that because I'm not a professional actor that maybe I'm going to mess this one up.
05:28But she read the script and I think deeply connected with the character and identified a lot with the struggles of Yasmina,
05:37which made her, you know, one day text me, like, I think I can be your Yasmina.
05:41I think I really understand. I understand her.
05:45And then she saw that she was surrounded with people who are not professional actors,
05:52whether it's the chef in the restaurant or the waitress in the restaurant or, you know, the kids, of course.
05:58So, you know, I think she understood that I was going for, I was casting, you know, these actors for who they are
06:05and for what they can bring from their personal experiences to the film.
06:11And, you know, I wasn't, you know, looking for professional actors in that sense.
06:16So, you first wrote the script in 2019 and since there have been so many developments,
06:21the explosion, COVID is really attacked.
06:24And you've spoken about how the script went from being too politically minded to a bit more luministic.
06:29Could you elaborate a bit more on how the script changed its trajectory over the years?
06:34Yeah, you know, because when I first wrote, you know, the very first treatment or, you know, the stem of an idea,
06:42Lebanon was a very different country because, you know, like you said,
06:45it was before the financial collapse and the economic crisis and the bankruptcy of the banks
06:53and the explosion of the port and, you know, all the wars in the region and the war with Israel.
07:00You know, so I think as long, you know, as this was happening, I think Lebanon was really hitting some very, very low points in its, you know, in its history.
07:11And I would like to think that these are the lowest points that we've experienced.
07:17And that obviously spilled over into the screenplay where it was much more politically engaged
07:23because I was very much affected by the negativity and the overlooming darkness that was really, you know,
07:32hovering over Beirut and Lebanon.
07:35So my producers were, you know, I think were always there to readjust that balance and to refocus, you know,
07:44some of the story into the couple because, you know, they should be at the forefront.
07:50And it was quite interesting because I did write, you know, drafts where the country was completely inexistent
07:56and it was really trying to figure out what was happening inside, you know, inside the couple,
08:00regardless of the social context or, you know, the political repercussions of the situation in Lebanon.
08:09Now, it's, of course, quite hard to imagine that because their relationship is very much a product of that environment.
08:16But, you know, we did do this exercise in order to really find the emotional map of the characters,
08:24like what they're going through, you know, as a couple.
08:29And then, you know, rebalancing that with reinserting all the social and political environment around it.
08:39So it was very much, you know, an evolution of my own perception of the country, you know, finding or, you know,
08:47yeah, finding its way into the script versus the balance that was restored along the way.
08:57And I was also curious about certain cinematographic sources,
09:00like a key later conversation between Nino and Yasmina, which is framed through keyholes.
09:05And there's a scene where they run to the streets, where the shutter speed is high.
09:09When you're writing, do you know what the shape of the images look like?
09:12Or is that something you figure out in dialogues with Job?
09:16It's a combination of both.
09:17And, you know, I'm happy that you're mentioning this scene because, you know,
09:21I do feel that this is the most emotional scene for the couple in the sense of this is their breakup scene.
09:28You know, this is basically where they're saying, like, we're going to separate.
09:31And, you know, we did not manage to, you know, stay together despite everything.
09:36And, you know, the gravitational force that usually puts us together is now pulling us apart.
09:42And there's a very interesting saying by Jean Renoir, the French director in the,
09:48I think he said this in the 30s or in the 40s, something like that, when he was at the peak of his career.
09:54And he said, and I'm paraphrasing because I'm translating from French, but he says, like, the warmer the topic, the colder the treatment.
10:03So, you know, in this highly emotional conversation, I made sure that we don't see any of the faces.
10:11You know, it's just going to be like through the keyhole.
10:13And there's, you know, first of all, it's kind of a metaphor of the distance that is between them.
10:19Like there's such, you know, there's a screen or there's a veil in their conversation.
10:23But also because I was trying to step away from a very, you know, a highly emotional face.
10:31I say, you know, I would say into something that is, you know, that is taking so much distance that you are actually not seeing anything.
10:37But, you know, one eye and of course, you know, I'm I was very, very, very much, you know, attracted with Nino's eyes.
10:48So, you know, the actor Hassan and Munya's eyes.
10:51So, you know, Yasmina, like this is, you know, the main thing that I'm looking at when I'm when I'm casting actors.
10:56And both of them have such beautiful eyes, you know, with with such depth that I thought that it can carry, you know, the whole scene.
11:04It can just be a scene on one eye and one eye and and that's it.
11:08But but in the case of this particular scene, it was actually written into the script.
11:14But, you know, for a bunch of other scenes and most of the cinematic language was shaped in conversation with my great cinematographer, Joel Saadeh.
11:24And Joel has also been your friend for a while.
11:28Yeah, yeah, yeah. We have been working together since 2016, approximately.
11:32And he shot, you know, most of the things that I've directed.
11:35We've done documentaries together and we've done, you know, short for short format content, whether it's, you know, short films or experimental films or commercials or, you know.
11:46So, yeah, we've we've been through through a bunch of projects together.
11:51And I do consider him as like, you know, my closest ally on set.
11:55And the archival footage, did you figure that out like later in post-production or did you also know you wanted that early?
12:02The archival footage, the archivals came in quite early in the post-production.
12:08So, no, they weren't necessarily written into the script.
12:11There was one mention at some point of like some archival in the opening, but, you know, definitely not, you know, not as much as you end up seeing in the script.
12:21And that was a conversation that I had with my editor, Nat Sanders, who's, you know, American and who doesn't know much about Lebanon.
12:28And that's, you know, one of the reasons why I, you know, I was looking for a non-Lebanese editor because, you know, like we watched the assembly and his first thought was, I think I need some guidance into where I am politically in the or historically in these different time periods.
12:50Not in the sense of, you know, I want to know, like all the workings of the Lebanese politics, but I just need to know if it's generally a period of war, a period of crisis or a period of prosperity.
13:01Like a social landscape of sorts.
13:03Exactly.
13:04Yeah.
13:05Exactly.
13:06Like a social landscape that would anchor your perception of the upcoming periods.
13:11Like, okay, this is a good period.
13:12This is a bad period.
13:13Um, and, uh, and, you know, they found a natural way to be, to be integrated when I, uh, when I, when I started, uh, writing Yasmina's letters as, you know, as a voice over, you know, over these, these archival.
13:25So, you know, it's kind of like her perception and it's, uh, and it's being espoused with, uh, archival footage that, that gives you a texture of the time period.
13:34But, you know, working with friends, of course there are many joys, but are there like some stranger and weirder things that you have to navigate?
13:41Like, or is it just a very happy and pleasant experience?
13:45Well, you know, I think it's, uh, it's a combination of both because, you know, like, um, a lot of the heads of departments are people that I'm used to, uh, to work with.
13:52You know, if I'm talking about the line producer, um, um, uh, Rajas Gheib or, uh, the, the, the sound mixer, Bassam Rubov.
14:00So, you know, like there's a collection of, of people that I'm, that I'm used to, uh, to work with.
14:05Uh, so that obviously has much more, uh, pros than cons.
14:11It definitely has its, uh, positive points.
14:14However, you know, sometimes the, the communication is, uh, very transparent because, you know, we're so, uh, familiar with, uh, with, uh, each other that, uh, that, uh, you know, it, it has some, you know, good things.
14:28And, uh, and, uh, and bad things, I guess, but, but, but, but, you know, overall it going to set never felt like, you know, I was going to work.
14:38It really felt like we're just going to, we're just going, yeah, like, you know, like a bunch of friends or, or meeting up to do yet another project.
14:45And this film also made me so God, I'm hungry.
14:49Were you always seeing from the get-go of having a restaurant as a primary space and, yeah, talk to me about the space of Lebanon, space of food in Lebanese culture and, yeah.
14:58Yeah, you know, I think it's, uh, it's a very integral part of Lebanese culture.
15:02You know, when, uh, when we meet for, uh, you know, family gatherings or, like, friends, um, over, uh, Lebanese food, it tends to be two, three, even four hours of just, you know, it's like,
15:15you know, the cold appetizers and it's like the hot appetizers and then we have, like, the pre-main course and then the main course and then the dessert and the fruits and, you know,
15:22and everyone's smoking cigarettes and everyone's smoking shisha.
15:26So, you know, it tends to be, like, a very, uh, social, um, um, gathering and, you know, it's not for nothing that, that our cuisine is, you know, quite famous all around the world.
15:37You know, for me, I, I love, uh, when film activates, um, uh, the, the sense of taste because I think that, you know,
15:45films are primarily based on, you know, sights and sounds, uh, yeah, yeah, exactly.
15:53And I felt that, uh, you know, activating a third sense can really bring, um, you know, add a lot to the experience and can really bring Lebanon to, uh, to your, to your taste buds in a way.
16:05Um, so, uh, so, you know, there is, you know, this, uh, this aspect, but also the other aspect was, um, that I felt that the evolution of food,
16:15or the evolution of his restaurant, uh, throughout the screenplay, uh, could actually be a mirror of how, uh, the social, uh, environment is, is evolving around him.
16:27So, you know, we were having conversations with the cinematographer and the production designer, where I told them that if you take a screenshot of every time, you know, you see food in the film,
16:37and then you put, you, you, you put them all back to back, uh, you should have the emotional map of the film.
16:44Like, you, you know, you should have the evolution of the relationship of, uh, the couple and of the country.
16:50So in the beginning, it's very saturated, it's very vibrant, it's very colorful, and there's an abundance of food.
16:55But then, but then when you reach, you know, the later chapter, you can see that food becomes very bland.
17:00It becomes, like, quite, um, rotten and, uh, and inexistent, actually.
17:06Uh, and when you, when, when that sense of taste that was so fired up in the first half becomes so absent in the second half,
17:13you feel that something has really faded.
17:16Yeah, the space itself gets so, gets like an almost blanched of that saturation that was there in the earlier portions.
17:24Exactly.
17:25But also, like, yeah, and take me through the, the rehearsals.
17:30Like, what, did you, like, do rehearsals very strictly to the script, or, like, waving around it and off it?
17:36Yeah, uh, so when it comes to rehearsals, actually, I tend not to rehearse the script.
17:41Uh, we tend to rehearse everything around the script.
17:44So, you know, uh, for example, to build the relationship between, uh, Nino and Shafiq, his, his chef, for example.
17:51Uh, when we did rehearsals, we, well, you know, first of all, I sent them to take some cooking classes,
17:56so that at least they can operate around the kitchen and not look like they, they have no idea what, what they're doing.
18:02Um, the, the actor, Tino Karam, uh, who plays, uh, the, the chef actually has some knowledge about, you know, cooking.
18:09So, so it wasn't that hard, but, uh, but Nino knew nothing.
18:11So, like, he had to, to learn a thing or two.
18:14So, but yeah, you know, for example, um, we, uh, rehearsed their entire backstory, what made them become, uh, you know, best friends.
18:21Like, how, how Nino spotted Shafiq in a different restaurant and how he approached him and how he, uh, you know, made him an offer
18:29and what the interview process looked like and what that first date looked like
18:32and how Shafiq made Nino fire everyone else in the restaurant because no one was up to, to his standards and all of that.
18:38So, so, so, you know, it's, it's about creating that, like the, the whole backstory so that when, when they come on set,
18:44it's already charged with like, you know, years and years of, uh, of friendship and drama and, you know, all the comedy that comes from it.
18:50When it comes to Nino and Yasmina, which, you know, is, is the central relationship, of course, that was like,
18:58it was much more complicated in the sense where we need to, you know, there was so much more to create
19:02because it needed to be that when you see these two together, there's a magnetic attraction that has decades of a backstory.
19:10So, you know, for several weeks, we would go out together, you know, sometimes I was with them, sometimes I was not with them.
19:17Uh, so, you know, they could be in character and, and, you know, get to fall in love with each other, uh, basically.
19:23Uh, and I think that all the work they did in rehearsal, uh, you know, all this, this, the, the, the magnetic, you know,
19:31attraction that had to be present, uh, between them was rehearsed over and over again, not in the classical sense of, uh, rehearsing the, the script or moments from the script,
19:42but, but just generally as human beings and as artists to creatively fall in love with, uh, with, uh, with each other so that they can bring this, uh, to the screen.
19:51And, and, you know, it, um, interestingly, actually in the, in the third part, uh, uh, you know, sometimes they, they would, they created this atmosphere
20:00where there was actually a bit of, uh, miscommunication between them.
20:04Like they, um, I remember asking them sometimes on set not to speak to each other, uh, to, to be pissed at, at, at, at each other, to, to create this miscommunication
20:17where it's like they want to talk to each other, but they can't, and then they would do it on camera, but it, it, it would come charged
20:22with the tension of miscommunication as between the two actors in, in real life, if that makes sense.
20:28The two questions this film has, I mean, it's kind of close to your earlier work as well, like
20:35the question of leaving one's land and going somewhere else and remaking that life and the dilemma in that
20:41and the question of hope, like, can, can I ask you, what's your relationship with hope?
20:45Like, are you like a cautious optimist and what gives you hope?
20:49Um, you know, I tend to be, like, I relate so much more to Yasmina.
20:53So, you know, when I was writing Yasmina, I was very, um, in line with, you know, what she was saying and what she was standing for.
21:01I'm like, this makes, you know, perfect sense, but I've, I've always, uh, wanted to be more like Nino.
21:05You know, it's like, you do want to have that, uh, forced optimism or, you know, that forced choice of seeing things brightly.
21:16Um, so, you know, I do strive to be more like him, even, you know, even though that comes with its, uh, its fair share of pain because you keep just getting disappointed over and, and over again.
21:28Uh, now for, um, for this being, you know, a central theme of, uh, this, this film and the previous work, I think it comes from the fact that, uh, the, you know, the Lebanese identity is very much based on choosing to leave, uh, versus choosing to stay.
21:47Uh, there is the sense of migration that has been present since the inception of the country, uh, there's been mass waves of immigration in the early 1900s, uh, during the civil war.
21:58So like in the mid seventies and, um, and eighties and more recently in the 2019, 2020, uh, where you have like, you know, an entire flock of people that goes, uh, into, into different countries.
22:12And that makes the, the question so, uh, divisive and so, uh, informative of, uh, Lebanese identity today.
22:20So it's not, it's, you know, it's never really a choice of wanting to talk about that, uh, so consciously, but it always, uh, finds its way in, in the work because, because it is the existential crisis of, or the existential, the existential question of my generation and the one before and the one before and the one before, unfortunately.
22:41And when you look at the history of Lebanese cinema, you will see that that question actually, uh, gets transmitted from film to film to film.
22:48And it, it's kind of always present, you know, this is something that you probably in India can relate to this, this type of, of question, because also you export a lot of, um, people and a lot of labor and, you know, uh, qualified labor outside of the country.
23:04And I guess they stay, you know, there's always the, uh, this affection that, that remains because the family remains there because the friends remain there.
23:15Um, so, uh, so yeah, I feel that, that the, the, the, this question can actually transcend just the Lebanese border.
23:22And I've, I've, I've had, you know, people not from Lebanon really speak, speak, um, at length about this topic and about relating and identifying to this question.
23:33And let's do some recommendations.
23:36Could you share like few emerging filmmakers from Lebanon who would like to give a shout out to us, what you would recommend?
23:43Besides, yeah, of course, like she's even, but yeah, because she is.
23:48Yeah, yeah, yeah, yeah.
23:50Well, you know, of course I was going to name, you know, Munya because I'm a, I'm a big fan of, of her work.
23:55Uh, there's, you know, a very interesting filmmaker, uh, a female filmmaker, uh, her name is Dania Bdeir.
24:02Uh, she, uh, she did a beautiful short film called, uh, Warshah that, uh, that you can find on Criterion actually that won, um, um, um, you know, the top award in Sundance.
24:12Uh, there's, um, uh, another one called, uh, Ahmad Hussain, uh, who does, you know, like these, uh, he's, uh, he had his, his feature film in 2019, uh, that, that played in the Critics Week in Venice.
24:26And it was called All This Victory and, you know, it's like this one location, very, you know, highly tense and, uh, politically charged, uh, film.
24:36And he's, you know, currently working on his, uh, second film.
24:39I mean, there's really, you know, a lot of very interesting filmmakers.
24:42There's the Zarazir brothers who, um, who I think recently also completed their first feature, who did a bunch of like hilarious short films.
24:51And, you know, they're, uh, they do something that is, uh, quite unusual, uh, to the region.
24:56And again, um, I'm also, you know, quite a fan of, of their work, but I think that, you know, there's just immense talent.
25:03And, uh, it's no coincidence that you see Lebanese filmmakers on the world stage and, you know, like across festivals, because I think that we have a lot of stories to tell.
25:14And even though we don't always have the infrastructure, when films, you know, get financed, they, they tend to be very reflective of what we have to say.
25:23And they tend to be really, uh, a labor of immense dedication and perseverance and love.
25:30And finally, I've got to ask about the Oscar campaign.
25:33How are you navigating that?
25:35Like, is it very exhausting or are you just very excited and grateful?
25:39You know, the, the problem with that is that you, uh, you, you want to try to stand out and you want to try to get, uh, you know, eyeballs on, on the film.
25:46Because again, you know, there's 70 or 80 countries that, that submit films and of course, you know, a bunch of them, uh, have a higher budgets and they have access to higher resources and, you know, they can do like more, uh, aggressive campaigns, uh, and, you know, in terms of like organizing multiple screenings and, uh, multiple cities.
26:07Now, because we are a much smaller film, it's, uh, you know, it takes an extra, you know, we have to go the extra mile to, uh, to make sure people actually watch the film.
26:18But, you know, the fact that we're playing in all of these different festivals in these different countries, I think it does create, you know, a bit of a momentum, um, around the film.
26:28But, but, but, you know, we are, uh, we are dealing with, you know, much bigger films that can actually, um, uh, you know, organize many more screenings than, uh, than we do, but, you know, we do, we're trying our best.
26:45Yeah, I mean, it's an unfair playing, level playing field, so yeah, do what you can.
26:50But, uh, finally, like, uh, is it like, of course, you're just negative in the campaign, but have you started thinking of what you want to do next, or is it too early?
26:59I am shopping around, you know, um, I am, um, you know, thinking of like separate ideas.
27:04I'm writing like, uh, uh, a family story that's, uh, in the same vibe, uh, like in the same tone that is also set in Lebanon.
27:12There's another, uh, film that is more, uh, pan-Arab that, you know, happens in multiple languages and, uh, across several countries, which is, you know, a much bigger and more, more ambitious project.
27:24And I'm, I'm also reading, you know, a few books here and there to try to find, uh, you know, stories that I relate to and that I would, uh, potentially adapt, uh, into a screenplay.
27:34So, you know, there's a bunch of, you know, different ideas that, that I'm constantly thinking of in between, uh, the promotion of the film.
27:42So I'm hoping to like settle on something soon.
27:46Okay.
27:47Uh, that's all, Cyril.
27:48Thank you so much and good luck with the campaign.
27:50This is an amazing film and I'm so proud of the film and of you and all the rest of the campaign and easily look forward to him next to us and hope we can chat again.
28:00Thank you so much, Devanjan.
28:01Really, it was a pleasure, uh, chatting with you and, you know, uh, thank you very much for, for all the kind words and, uh, the, the, the great questions.
28:12Thank you so much.
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