You can't really divorce women's struggles in the world from women's in the cinema. As long as there's hierarchy it means that women are somehow secondary or second class or less than. That's going to be reflected in movies because films are the most powerful medium to reflect back society's view of itself

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.

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

A narrative thread gives people permission to think about other things whilst being carried by its flow. It does not mean that one has to compromise one's vision, or question formal concerns. It's just being more subtle and clever by having one accessible thread.

As the director, you have to hold in your head the widest possible vision. Not just the idea and the story, but the conceptual content. But at the same time, you have to consider the tiniest, tiniest detail.

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.

You can't really divorce women's struggles in the world from women's in the cinema. As long as there's hierarchy it means that women are somehow secondary or second class or less than. That's going to be reflected in movies because films are the most powerful medium to reflect back society's view of itself