In "materials" we ask filmmakers to send us images, statements, stories, videos or quotes that were important for creating their work or are a documentation of it.
I only had one desire, to take a rest from the type of cinema whose rules prevent discoveries. But also to always continue my work on languages by going even further to find possible narratives through other means of perception.Its about listening and seeing what we are not always able to perceive even though it is a primary form of communication with life at its fullest, life with its very talkative ethereal content. It's like understanding the other who speaks a language we do not comprehend, or an animal, any one of them, who tells us as many stories as our neighbor. We get the crux of the matter by merely being present.The title imposed itself as days went by. I did not look for it, even if the subject matter could, for some, lend itself to reach the sacred as we per perceive it - that is to say up above us - while everything bustles in our daily lives.The film is simple, very simple. It’s a love and death story that touches us all. So I did not seek to create more than the image that imposed itself in the intimacy of this place - our inner space - that does not require broad shots, context, or words.Precision, time, and psychology are always off the subject in my films in which I rather seek to retain for a few moments the peaks and fluttering of our lives. These obvious moments of grace in both beauty and hardship, it does not matter. Each shot I film it and I listen to it, with this desire and all of us have a role to play, the wind, light, fly, noise. I do not touch a thing when we are shooting and it very rarely happens to me to film two takes. It is not a question of triggering my abilities or those of others, but of receiving what is given in unison, at that very moment, by so many distinct entities.