BISFF Correspondence 通信计划
为了跨越种种障碍，开辟更多交流空间，我们设置了“BISFF Correspondence 通信计划”，对部分国际单元的参展作者进行系列访谈，这些访谈将在作品放映后发布在联展各个媒体平台。
Q：People are always curious and fearful of the unknown, especially in adolescence. Is there a prototype for Quartz and what was the original motivation for its creation?
A：The questions of the group and of youth are very present in my work, so Quartz is part of this continuity. The film was influenced by the story of the children who discovered the caves of Lascaux, France and readings around it; it is the characteristic of the child's gaze to have the capacity to see new things, to "discover" in the literal sense of the word, and this is a point that moves me. This question of the gaze influences the relationship to the unknown.
I am also interested in the question of technology in my work; it seems to me that this relationship to exploration and discovery no longer exists in the same way today with digital technology, it modifies the relationship to playing and also to space. So I wanted to film a group of teenagers who still have this childhood’s gaze, and who, in the course of this discovery, abandon this relationship with the telephone to go towards something more physical and animal.
Q：There is often an inextricable link between names and themes. What is the special meaning of Quartz?
A：Quartz is a mineral that is used in the manufacture of modern clocks, it is for me like a kind of stabilizer and regulator of time. It is also linked to the musical composition of the film, where the idea was to work on Euclidean rhythms that allow a of polyrhythm; the rhythms of each character end up being in tune with each other, a bit like teenagers who end up forming a group, whereas there is something more "fragmented" in the rhythm at the beginning of the film. So it was through the sound that the title of the film came about, with the idea that it would say something more about the film than a summary. Finally, Quartz refers of course to the mineral, which is also the identity of the film.
Q：Did you encounter any bottlenecks during the creation of Quartz and how did you solve them?
A：The shooting of Quartz was extremely fast and physically challenging. It lasted barely three days, so we had to be very efficient, but we could hardly have done more because this underground environment can be hostile, it is very humid, you always have to keep an eye on the clock because the notion of time is disturbed in the dark, the distances to walk with the equipment are very large and the communication difficult because there is no network. It was therefore necessary to find a great flexibility of adaptation, to reduce the places of shooting. There was no script as such, the idea was to work on improvisation in defined settings, with constraints of places, actions, types of energies and shots that we were going to find. As there is a close link between the spaces and the group, in the end, the conditions of weather, of time, the constraints that we had and the emotions that the places provoked on the young people were part of the scenario itself. But I did have to rethink almost every scene on the shooting days. I must also say that the young people were not actors at all, and we worked with them beforehand, just so that they would be able to listen to each other and adapt to the shooting conditions.
Q：The Internet is pervasive in the era of big data. How do you balance the sense of depersonalization caused by the onslaught of information?
A：For me, this film deals with these questions in a subtle way. The teenagers I chose have a strong connection to the telephone and internet, and I was interested in taking them into a completely different environment. What struck me is how much the fact of plunging them into a different environment and a powerful nature took precedence quite naturally over the telephone.