Dinner with Norte (North)
Interview with Javier García, director of Norte (North)
What motivated you to make a film about this programme?
Mainly because I’ve always been interested in exploring the human mind through film. One day, Sergio Arróspide allowed me to read the script he had written and I fell in love immediately with his text. It is based on a true story. The Basque government started a process of “restorative face-to-face meetings” in which the direct victim was locked in the same room with the ETA ex-terrorist. The target of these meetings was to bring some peace in the souls of both of them.
What do you make of this clause that there should be no apologising and no forgiving?
The purpose of these meetings was not to ask for forgiveness or to forgive. In fact and to be able to join them, the terrorist shouldn’t be part of the terrorist group ETA anymore and show repentance. The initial point was to try to find a common topic, from which one could some inner peace. I think it’s almost the only way to move forward. Resentment doesn’t help and it is almost worse for the person who suffers it.
Can you tell us why you chose this particular title?
It is a metaphor about geography and mind. The Basque Country is located in the North of Spain, and it also refers to the Spanish phrase “losing the north” which means entering a state of mental disorientation. If this confusion happens when young, it can drive a person to do things that may regret in the future.
Can you tell us about your shooting style (focusing on each character in turn) and about your choice of a final shot?
I chose the long take for several reasons. The first reason is that it forces the viewer to be with the actors in a more intense way than if there were cuts. Choosing the camera for one character or another seems consistent with a spectator being there listening to the characters. In addition, having no information about how the other actor is reacting added tension. Besides, the camera is not in a symmetrical position. It’s closer to the ex-terrorist. The reason is that there is an initial and logical prejudice to the ex-terrorist that I wanted to eliminate. The camera tries to rally around him looking for a balance. The central reference of the movement is to go towards the window, which symbolizes going to the light, also freedom. The frames of the window at the end symbolize the bars that hold the ex-terrorist.
Any cinematic coups de cœur in the past year you’d like to tell us about?
I love movies like Coherence by James Ward Byrkit, or The Lobster by Yorgos Lanthimos. Both are describing human nature in extreme situations. In the case of Coherence, what really drew my attention was the minimum budget, resulting in an impressive film.
If you’ve already been to Clermont-Ferrand, could you share with us an anecdote or story from the festival? If not, what are your expectations for this year?
Unfortunately, I have never been there, but both my producer Manuel García and I will be happy to be there, meet other directors, chat and attend one of the best festivals in the world. We are very happy and proud.
Are you taking part in other events during the Clermont-Ferrand Short Film Festival? (Espressos, Conferences, other?)
Norte will be at the “Shorts from Spain” booth where for sure we will have coffee and chat to those who want to know more about it, or talk about their projects.
Norte is being shown in International Competition I4.
