Drawing Room Confessions #6: Rosalind Nashashibi

(…) You can go into a situation knowing that you’re interested and even knowing why you’re interested, but it’s the filmmaking that gets you closer to the parts of your knowledge that are inaccessible or not yet accessible. The way I used to make films was to look at places that attracted me – places that intimidated me or excited me or places I liked – and then film in order to really look at them. Now I try to get a bit closer to knowing, to constructing something. I’m already one step further when I start than I used to be. I’d like to put those two ways of working together. Still, it’s really only about trying to find out why I’m going back to this place or situation in the first place. (…)