Page 84 - Metropolis Megazine No.120 International

a very emotional journey. I think What was that balance like as position and the lens we would
really everybody felt that... It's a director? use. Even the lighting is very...
not about feeling, Oh, this is an Eran Riklis: First of all, I believe You don't feel it. I thought, like
important film. It's not about that in all my movies, I strive to you say, that even though the
that. be involved in what is happening film has many other locations,
rather than observing from the the university, still, I felt that I
It's about these women who really outside or interfering. I think wanted to be in every location
suffer in so many different ways. here, it was especially when I was and every situation. I want to be
I think it was really to show that talking to Hélène Louvart, the inside, not outside telling a story,
behind every face, there's a whole cinematographer; we were saying, but inside, almost like really
life that you can explore. That's Okay, this is not easy. We have Like I said, the camera is another
what we tried to do. seven women in a room. How character. Also, I think I can say
do we do this without creating that we were normally physically
It's a film with a disturbing something artificial? I think it very close.
theme, such as emotional was almost like there was no
preparation. Did you feel camera. The cameras were there. It's not like we did things
that your camera would play It's almost like we were another with long lenses. We were
an almost omnipresent role woman there talking to the physically very close and very
in the action, letting the characters and really trying to intimate. I think that's also why
power of the story and the be part of what's happening. I I brought a woman to be the
performances breathe and think it shows. The decision also cinematographer. I thought that
gain even more strength? involved choosing the camera's was also important. I think for

84 METROPOLIS JULY 2025