There are a lot of questions that come out of the silence. It is so close to the infinite.

A lot of narrative films leave you no space for anything else but eating popcorn. I want to go in the complete opposite direction. I have to evacuate all psychology, to be less a protagonist and more a presence.

I don't want what you see on the screen to just be a brief notion of pleasure but something that lingers. The idea is to have the images revisited. I want it to be something that also enhances the soul. I want the moment of pleasure to produce an attachment.

It's a false illusion that we wake up thinking of who we are in terms of identity and that we are stuck in the boundaries of who we are nationalistically.

I don't particularly have a good memory. I think history is many times just the text written by the victors. I wanted to counter that aspect.

I try to use fiction in order to reduce the potentiality of something being true. We produce our own memories so I'm not sure of truth.

If a person just takes what is socio-political and geographical from the themes of my films then that's not enough. But if the person goes out of the theatre and, for example, makes the dinner he's eating later on, extra nice then I feel that I have succeeded. We have this urge to anaesthetize the moment we're living in.