00:26This is Tim Wasper from FastTrack on CERC TV
00:29I'm here in Berlin, Germany for Berlin Ale 2026
00:33So identity is something that, I think for many of us as humans, men or female, identity is an illusion,
00:48identity in itself, what is identity and who has the agency over that, at what point?
00:56Identity is a shifting, it's a projection and in that sense we play with this, not even intellectually or consciously,
01:10I think it's on an intuitive level, it's how we craft it.
01:13Because the minute you start putting words, you demystify the phenomena.
01:16But I think, yeah, I think it's something around that that we find our way through that to talk about
01:30the problematics of defining, that's it, of finding it.
01:37And so we found it, and so that's it, or giving an answer to the viewer, that's where you must
01:42be.
01:43And this, and it's not, it's, and this is the spiritual aspect of the film and the references to Taoism,
01:51to Kazantzakis, who I love very much, the saviors of God.
01:55In these teachings, they all talk about the duality, about the responsibility of saving the spiritual realm, as much as
02:14being open to be saved by it.
02:18And so in that sense, there is no identity, it's forever shifting.
02:25And I think it's more about that and the tragedy around that, the tragedy of hanging on to old narratives,
02:38beliefs, et cetera, that are harming or that are preventing us from change.
02:54In fact, lidsie it, n'yama to hold onto the rest of the verses, isn't it like that.
03:13Singura n'y ste.
04:10I will pick on the question on the question.
04:14And what Rallitsa was saying about duality and for me she's frozen.
04:25She's the opposite of the fluidity.
04:27She's completely, you know, it's about the control and the necessity or the illusion of the control.
04:41This is where basically she's almost unable to interact with real emotions, with the feelings.
05:03And at the same time, for me in approaching her, it was important to look at, you know, emotion or
05:16feeling is a very large scale of nuances.
05:26And when we were talking about Lillian, we watched at all that nuances of emotions and feelings.
05:37And basically, if we speak of a portrait, the paint was very, very small range of what she's able to
05:51do.
05:51So it's like, yeah, it's like a fear, the fear and shame, anger.
06:02And with this, within very, this small range of decisions we made, there is nuances.
06:14So if we speak of movement, it's basically cracks.
06:21It's, I mean, it's the gap, which at the end, it's open.
06:29It might be the infinity, we don't know what it is, you know, because it's three days of her life.
06:37But that crack brings to something else, which we do not know what it is.
06:42It's anticipation, maybe, of what freedom might look like.
06:51So infinite movement versus stasis.
06:55And what's important is that the crack can never be sealed.
07:00I mean, it is a promise.
07:02So that's where the hope is for me.
07:06Yeah.
07:21And that's where the fuck is this guy.
07:23It's not a promise.
07:24It's not a promise.
07:26Yeah.
07:27I think this is...
07:28I think it's like 20 000.
07:39Lillian, nice to meet you.
07:41Sorry.
07:41I'm sorry.
07:44I'm from America.
08:01I'm from America.
08:03Where are you from?
08:07French?
08:10French.
08:17You know?
08:20With Lillian, you can see.
08:22You can see.
08:25Your contacts in Switzerland,
08:28do you care about love?
08:33Or do you just do it with art?
08:37I think it's art.
08:38If you have a sword,
08:38I'll use your weapons.
08:43I thought that art is that the weapons are going to head to head to head to head to Sweden.
08:50Could you talk about using that structure in order to expound upon it
08:55and yet keep it within that idea?
08:58Because the fact that you see just the crack of the egg
09:01and these little bits sort of streaming out is a very,
09:05it's not a completely unique form of storytelling,
09:08but it's a form of storytelling that hasn't been done as much.
09:11For me, it is a very, as you say, structural,
09:15very conceptual and dramaturgical decision
09:21and also aim how to contain a narrative, a story.
09:26Very concretely and practically, it is a one-week story.
09:31It is an exile story that happens within a week.
09:36And exile also metaphorical, but also it's literally,
09:41she comes from the States for a particular purpose to deal with,
09:45with an inheritance she doesn't want
09:48and with a body that is discarded and she must,
09:52she's obliged by law to handle and bury
09:56because it's under her signature.
10:01But it's a week.
10:02Within a week, how much, within a lifetime,
10:05how much can we change?
10:07Let alone for a week.
10:11I mean, it's, so here we witness one,
10:15one very important moment within this person's life.
10:22The moment of shift where something happened,
10:26where it began.
10:26So it's, it's perhaps 2%, maybe not even 2%,
10:30it's maybe 0.2% of a shift.
10:34But it happened.
10:36That's the genesis of the change.
10:38And I think when I approach a story,
10:41I ask myself the question,
10:44what is the capacity for change of this character?
10:49And then I start writing.
10:50It's almost one of the very first questions I ask myself.
10:55Would there be a capacity?
10:57Would there be a recognition?
11:00Would they be, would there be an awareness
11:02for a possibility for change?
11:05Or perhaps it is a story where the spectrum is,
11:11we, the audience, see that, but the character doesn't.
11:15That's even more minimal within, within the scope.
11:19And that scope needs to be very much defined
11:23because it gives you the framework
11:24within which you contain the story
11:27and make all of your choices.
11:30And so here it's 0.2% perhaps,
11:34or maybe 1%.
11:35And it's within that.
11:58And it's within that time as well.
12:01Look at this frequency bit.
12:01zob reservatBook for change or just make it official.
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