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In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.

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Always Film Giving Movie People Show Thing

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I tried to find images, allegorical images, that I could use to express things that I didn’t want to say or didn’t want to show or I was not able to find how to show.
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The film critics don’t know my artwork and the art world doesn’t know my films.
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It sounds so lovely in French. So I took that because it was the subject: I and myself and myself and I. Which is, in a way, boring, because it is a contradiction.
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Society is so slow. A feminist is a bore.
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I go back to many films that I really love.
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If we opened people up, we’d find landscapes.
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I never fought, I never learned kung fu or boxing, I never went into these sportif competitions. I wouldn’t cross the ocean.
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My grandson says I’m punk.
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When I started my first film, there were three women directors in France. Their films were OK, but I was different. It’s like when you start to jump and you put the pole very high – you have to jump very high. I thought, I have to use cinema as a language.
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It’s interesting work for me to tell my life, as a possibility for other people to relate it to themselves – not so much to learn about me.
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The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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People like my films. They understand me through my films; it’s like a connection that has been established between all my work and myself and the audience and the viewer.
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If you know nothing, it could be like an enemy in a way. I think that’s the way I felt when I was young.
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To change history is very slow. The first two times I came to the States – black people didn’t have the right to vote.
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Humor is such a strong weapon, such a strong answer. Women have to make jokes about themselves, laugh about themselves, because they have nothing to lose.
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I think we need to have a nest of something which is family.
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