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00:30We felt that the film was not only a film.
00:32We felt that the film was also a ceremony.
00:35And now, after all these months, we know that there's also shock therapy.
00:39Bam!
00:40And so, I mean, also because you have time,
00:45so you can see how images really stay into spectators, you know.
00:52After months, a lot of people came to us and told us,
00:54wow, I'm still feeling the film, you know, the film is in my skin.
00:58And that's the power of cinema.
01:01We are happy because we really trust on images,
01:04on the complex relation between an image and the human metabolism.
01:09And in the U.S. it's been also quite funny.
01:11Well, right, because it's been getting a lot of attention in the U.S.
01:14I mean, do you see that as a really hopeful sign
01:16that Hollywood's kind of more opening up globally,
01:19or even that audiences are a little bit more keen for more radical cinema, maybe?
01:23We are living on a really particular moment.
01:26It's for sure Academy, Oscar Academy, is more open, more young.
01:33And I think that also we are being tired of watching the same films, I think, you know.
01:38I mean, human beings feel truth, feels when something was made with guts.
01:45This is something that is impossible to copy the guts, you know, the ah, you know.
01:51It's also like a tough film to recommend without spoiling it
01:55because of the impact that it has, like you say, the guts.
01:59And, I mean, one way I've found to describe it to people when recommending the film
02:03is to talk about it as like an act of savage transcendence.
02:07And it's that transcendence that really fascinates me,
02:10the way that your images speak to the subconscious.
02:14Can you tell me a little bit more about your approach?
02:16So I try to preserve the images for myself.
02:20I try to protect them.
02:21You know, this is the problem nowadays in cinema, you know,
02:24that the images have too much weight.
02:27The images are instrumentalized to say some things.
02:31But when you want to say too many things, you don't say nothing.
02:34And this is the problem nowadays, that they arrive really thirsty and tired.
02:38The images in the films are dead.
02:41They are not alive.
02:42I mean, there are a lot of films, good ones, films that they are nominated too.
02:46I'm sorry to say it, but they don't have any image.
02:50No one image.
02:51And this is about this.
02:52It's about the image.
02:53Obviously, they have images.
02:54They are just images that say things, but they don't evoke nothing.
02:59They don't have the power, the wildness, the organicity that an image needs to have, you know.
03:06The symbolism, the universal archetype, all these things, you know, that an image has.
03:10So, it's just this, you know, the key of Sirat is that I protect the images from myself, you know.
03:19It's my daughter.
03:21It's been five months ago that we don't know anything about her.
03:25There's another party in the desert.
03:29Maybe it'll be there.
03:30Sound plays such an important part in this film, whether it's the sound design or the score by Kanding Ray, who was nominated for the Golden Globes.
03:40They rather shamefully didn't show the best score being actually awarded on the broadcast.
03:48Do you think that people are maybe undervaluing or underestimating the role that sound has and sound design has in cinema?
03:55I don't know, I, you know, I think that cinema people were giving us too much prices.
04:02I don't know, I mean, do you give this amount of prices in journalism?
04:07No.
04:07I mean, so, in a way, we have to be calm.
04:10I mean, I think it's enough.
04:12I mean, we are receiving a lot of prices, so, I don't know.
04:18But I think, in any case, that sound, yeah, I mean, it's part of this ontology of cinema.
04:26I mean, when I'm imagining an image, it has sound, you know.
04:31It's not something separated, and this is the key also of Sirat, you know, that you don't know where the image ends and where the sound starts.
04:39You know, it's really a sculpture, Sirat.
04:41It's a monster.
04:42It's alive, you know.
04:43It's, you know.
04:46Yeah.
04:46Boom.
04:47Yeah, no, it is that.
04:48And that, boom, as you say, is so important because, I mean, I saw this on the big screen,
04:54and I've been telling people to go see it on the big screen, but that feels more and more threatened nowadays, the big screen experience.
05:01And one of the people nominated here at the European Film Awards this year, Stellan Skarsgård, recently said that films need to be seen in cinemas,
05:09and that's where they should be seen.
05:11And there are other people, like the co-head of Netflix, for example, that says they're going to see films in cinemas as an antiquated idea.
05:18What are your thoughts on that?
05:20I will never work with a platform that don't respect the chronology of cinema.
05:27Cinemas have to go to cinemas.
05:31The theater is a place for catharsis.
05:34It's a place for transformation.
05:36What is happening in a cinema doesn't happen in the house.
05:39This is the soul of cinema.
05:41It's this, you know, this is the key thing of cinema.
05:43When you are with other people, there is a subtle, a secret exchange of energy with the people.
05:52It's not the same watching a film one day than another one.
05:55The same people, same film.
05:57It's really a mystery what's happening.
05:59It's a ceremony.
06:00It's a ritual.
06:01Like in Seurat, people on the dance floor.
06:03You know, your body is reacting in a different way.
06:06So you can say to this guy from Netflix that he's completely wrong.
06:12Yes.
06:13Poor.
06:13And one scene that struck me enormously in the film was the ending, the train going towards almost a future with a great amount of uncertainty.
06:23And I found it incredibly hopeful.
06:25But I've spoken to people who were basically very scared with that last scene.
06:31And it's interesting, given the current climate when it comes to political conflict, the rise of AI, for example, which threatens enormously, you know, artistic professions.
06:43That particular scene for me was hopeful.
06:47Do you see it as hopeful?
06:49I don't like to interpret the film, but I can tell you that I'm really a hopeful man.
06:53You know, I truly believe in the human being and in the future.
06:57Obviously, it will be tough.
06:58We are like on a kind of change, era change, you know.
07:01So sometimes when two eras are changing, it's like a fade, you know, of two images.
07:07Sometimes the past come to the present with more presence, but at some point it will fade, you know.
07:15So I'm really optimistic and I like tests.
07:18I truly believe in life, you know.
07:21And life will test us, will push us to a place that the only answer will be to be more human.
07:29You know, so thanks Netflix, thanks IA, thanks all these deshumanization things, because you are going to make us more human.
07:37It's interesting that you mentioned dehumanization, because very lastly, I had the pleasure of speaking to Juliette Binoche last year, who's the president of the European Film Academy, and she said that one of her goals with her role and with cinema was to rehumanize society through cinema.
07:53Do you think that cinema has the power to do that, to rehumanize us?
07:58I think that cinema and art is a way to heal the collective imaginary.
08:07On a subtle way, we are doing it, we are healing.
08:10Yesterday I was with most of my colleagues, Masha, Joaquin, I mean, and our films, they are a reflection of a society that is trying to look to the wounds, that they are trying to heal this transgenerational pain that we have, to stop this chain of pain, you know.
08:33This is a problem nowadays, you know, that we suffer, so we provoke sufferings.
08:39So yes, I think that cinema can elevate our conscience, hopefully.
08:45I truly believe.
08:48Sorry?
08:48It's a good note to end on, the hopeful note, so, Mr. Lachey, thank you very much for your time.
08:53Thank you.
08:54Thank you, David.
08:54Thank you.
08:55Thank you.
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