Belinda

Marie Dumora’s film follows two decades in the life of a young and troubled French woman, who is a member of the minoriy of the yenish people.
“I always leave on an adventure, at first, without a definite and structured production approach to be completely free. I do the shooting myself, with a bulky hand-held camera and a rather conspicuous sound engineer with his boom and microphones. I do not like to use a small camera, which gives the illusion of not really being filmed. In the same vein, I always use the same lens, the same focal point (the one closest to humanvision), so I get dangerously close for close-ups and step back for wideshots. Bresson shot that way but it’s more uncommon in the case of what a documentary is supposed to be. When you make a film in this genre, people ask you how much time you stayed in order to blend in and be forgotten. Yet, this is not at all my approach.
Likewise, the choice of this focal point contributes to creating the right distance, since to a great extent, cinema is, for me, a question of placement and distance.” (Marie Dumora)

In presence of Marie Dumora.