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Z365" or "Festival all year round" is the new strategic point of the Festival in which converge investigation, accompaniment and development of new talents (Ikusmira Berriak, Nest); training and cinematic knowledge transfer (Elías Querejeta Zine Eskola, Zinemaldia + Plus, Filmmakers' dialogue); and investigation, disclosure and cinematic thought (Z70 project, Thought and Discussion and Research and publications).
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The Canadian director, Atom Egoyan, gave a press conference in the Kursaal after the screening of his film Chloe that has opened the Official Section this year. The film describes the journey of sexual rediscovery that its protagonist embarks on in the midst of a mid-life crisis. He explained that the film was really about the danger of fantasy as a sole way of reinventing ourselves, and stressed that “human beings are very mysterious and have many layers”. In an age when we are saturated with images this feeling of wanting another life is becoming more and more acute, especially among young women.
Although Chloe is based on the French film Nathalie by Anne Fontaine, Egoyan pointed out that there are significant differences with the original, and that it is not so much an adaptation as a reinvention, and he also revealed that the recurring motif of a child that appears in his work was inspired by a defenceless girl he knew in his own childhood who has always haunted him.
He spoke at length about the huge influence that Buñuel had had on him, describing how when he was a child living in a small town in Canada, he had read about Un Chien Andalou and had it sent to him by mail. It totally changed his life and made him realise that cinema could be a way of presenting dreams.
When asked whether he would have liked to have changed anything in his film, he said that he had already done so in the testing phase because of the reaction when he showed the film to a test audience. “I made the ending more ambiguous and got rid of the contrivances”.
He also acknowledged that making the film had been seriously affected by the death of Liam Neeson’s wife during shooting, but praised the consummate professionalism of the Irish actor who had been able to rise above his personal tragedy and return to the set to complete the film.
Allan Owell
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