Let’s imagine for a moment that this street is a safe deposit box...
The desire to shoot outside, so as not to register a claustrophobia, compared to the two previous films. And then the desire to question the street space: following a discussion with Rachid Djaïdani, who expresses that the street is “his home”, I try to understand what it means.
I also had the intention for this film to “script” the process, i. e. to plan in advance where I was going, to build a preliminary canvas. This does not exclude improvisation compared to what happens during the shooting, of course. This is shown in relation to the contents of the bin and the sweeper. But the point of arrival was defined before the shooting. “The key” produced the idea of the safe, and the journey of the traveler with its point of departure and its point of arrival.
On the other hand, the subject of the film, what he speaks about, profoundly (that I do not reveal in order not to reduce the film, because it is born in the temporality of the shooting), was not in its structure, and was formed during the shooting. Whether or not there is a previous structure, the requirement of meaning and openness must be the same. Finally, the structure is of little importance, what counts is openness, at the moment of the act of doing. If there is this openness, the meaning comes to us.