I think one of the big wishes of the human kind is to transform things, to work on things to construct, to destroy, to sometimes construct again. And not only to look at the world, let’s say, passively. I think that’s the aim of humankind, being a man, a woman, is to change things. And cinema is about showing things that are changing.
Even if the change is internal in Le Fils (The Son), we showed a man that is teaching the boy responsible for the homicide of his kid. So we also shoot the work of a carpenter, and by shooting these little movements, we are shooting something that we don’t see necessarily, which is the transmission of a work profession. The kid who is learning this profession feels he’s becoming recognized, feels more important, he has more self esteem. He’s not only the killer, he’s also this kid who is able to work on the wood, etc. And then we shot Rosetta, which features a character looking for a job. I think she’s looking for some kind of dignity, and some critics of the movie said it’s too reactionary because dignity is not only found in labor. It is true on the one hand, but those who do not work today say they feel they’re completely put aside, marginalized, because they feel they’re not useful anymore to society. And maybe because we come from that region, we believe, that being useful through the work we do is very important.