To me there is an intimate relationship between austerity and more lush aesthetics. They're two faces of the same coin.

I think that the word feminism doesn't imply enough in terms of solidarity with other liberation struggles. I am firmly committed to the notion that no one group can be freed until all groups are freed.

I've always traveled with the films because I want the audience to be my teacher so that I can learn for the next one.

I think yes is the most beautiful and necessary word in the English language.

I am not interested in making didactic polemical statements. That is not the way I want to make films. There is a place for polemics, but I don't think that it is in fictional cinema. Fictional cinema works subtly and deeply.

Between the postwar fifties - domesticity, people happy to be alive after the Second World War, wanting to build a home, make a family, make a nest. Women were pushed back into the home after having been active in the Second World War. It was a big Doris Day moment for women, which didn't suit all women.

My writing method is to sit in a very small hut absolutely alone. I write in total solitude. And I write on paper, on hand, and then it gets typed. Normal for me.