First of all, we would like to ask you where the story that you tell in your movie comes from.
I'm always surprised with the frequently and naturalness with which food is thrown away. Individuals, families, shops, companies, factories, producers, all throw away food. It is strange that we all easily accept the apparently reasonable grounds for convert food into trash.
With regard to the topic that was given to you, which aspect struck you the most? Are there ways in which you were already addressing it in your work?
Hunger is something simple, visceral, direct and clear. However, most of the time this scourge is dealt with modesty. Also solemnly. With fear and distance. It is the engine of political campaigns, humanitarian groups, business groups, social movements, films, peridodisctic and political essays. But none of these approach us to a direct solution to this urgent problem.
On the contrary, everything seems to continue to encourage the same inequality machine.
Human rights are real, something you can feel on your skin, and not something abstract. In a film, the artist and director – just like the poet – creates a personal universe that is drawn from his or her own life in one way or another. Can you help us understand the link between your short film and the experiences that led you to make it?
I never understood the real reasons leading to a supermarket, restaurant, factory or airline to throw food.
Harvests not sold on time are thrown away. Food is discarded before its expire date while others are destroyed due to packaging defects or due to the arrival of a new product. Food that became cold in its tray is thrown away in restaurants, planes, buses or homes.
Why all this waste when with only minimal action these foods could be relocated or redistributed? Why so much denial?
All these questions and their implausible answers pushed me to pick this topic for my segment Sobras.
We think that culture in general and cinema in particular can help people to better understand the importance of human rights in their own lives. What do you want to provoke in the wider public with your film?
I hope that this little story will bring closer this hidden reality and that it becomes a starting point for debate. And I strongly desire the parties capable of articulating a change feel the urge to do so.
This project involves artists and directors, people who usually work with very different languages. What do you think are the differences between artists and directors in their approach to the creative process?
I believe in diversity.
Film is a celebration of differences.
Therefore, I think that creative processes should be different to reach greater expressiveness.
Now let’s talk a bit about you. Who is Pablo Trapero?
He’s someone fascinated by the moving images, by sound and colours, by films that have moved and still move him, and by the need to tell stories.
I also think that cinema is a powerful and touching tool that can help us come up with ideas for this world, in a time not so far ahead, to be better. And for all this, he is someone who deeply loves film.