I don't want to take part in gay or women's festivals, I don't want to take part in Jewish festivals. I just want to take part in regular festivals. All I did are films and nothing else.
最后一幕Chantal沿着公路走下去，很难让人不想起Nomadland的结尾，连配乐都有些相似。
我不喜欢给艺术作品归类，也不倾向于给人 或者作品打上标签。拿Todd Haynes举例，他敢用六个不同年龄不同性别不同种族，长相气质也不尽相似的演员去演绎Bob Dylan，也可以用女性视角拍摄女性之间的爱情故事。所谓归类，不过是像后人们定义文艺复兴、启蒙运动或者工业革命，方便“XX学家”们写论文罢了。
Chantal的叙事方式和长时间固定机位的拍摄手法，用冷静的视角，艺术化的形式，去展现真实的疯狂。那种没有隐藏的一览无余，一方面是对真实的大胆暴露，另一方面是把观看的自由交还给观众，让观众自己去观看，去感受，而不是告诉他们什么。同样的，这样的方式也把角色交还给角色本身。
Chantal的作品在那些重复简单的琐碎之间，让人觉察到有什么事情正在发生。像一根刺，将现实和无意识贯通。她的作品是对个体本身的探究。
有时候固定的镜头很长很长，比如D'est中七八分钟的镜头，去拍摄等车的人群，让人感觉到时间的流逝，某种意义上也能感受到生命的流逝，感受到生命流向死亡。
Often when people come out of a good film, they would say that time flew without them noticing. What I want is to make people feel the passing of time. So I don't take two hours from their lives, they experience them. And when they don't feel the passing of time, it as if two hours of their lives were taken from them.
I shoot a scene and people have to feel it.
There are things that can't be shown.
所以，撕下所有的标签吧，去感受所有感受。
