– When you plan the realization of a film project, what are your objectives?

My objective is to create an experience that continues after the film ends.

With Asherah: A Love Odyssey, I wasn’t interested in simply telling a story—I wanted to construct a space the audience steps into. The film moves through five movements—invitation, witness, origin, completion, and declaration—designed to be felt as much as understood.

I’m not trying to deliver answers. I’m trying to activate recognition. When it works, the audience doesn’t leave with a conclusion—they leave with the sense that something has opened.

That’s the objective: not closure, but continuation.

– With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

AI is accelerating cinema—but it’s also exposing it.

The tools are no longer the barrier. Images, voices, even structure can now be generated at scale. That shift forces a deeper question: if anyone can make something, what makes it matter?

The answer is intention.

AI can replicate form, but it cannot originate meaning. It doesn’t live, it doesn’t risk, it doesn’t choose. What we’re seeing isn’t the replacement of filmmakers—it’s the removal of excuses.

Cinema is moving from execution to authorship.

This isn’t the end of something—it’s the beginning of accountability.

– To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

I’m looking for partners who understand that cinema is evolving beyond a single format—it’s becoming a living ecosystem.

Companies like A24, Neon, and CJ ENM stand out because they support work with a clear identity that still travels globally. They recognize tone, authorship, and cultural positioning—not just output.

Asherah is designed as a chaptered narrative universe, with the feature film as its opening movement. The right partner sees beyond a single release and understands how story, character, and world evolve together over time.

This is not just about distribution—it’s about alignment.

– WILD FILMMAKER can now “sit at the table with the big players”… Do you think we are doing a good job?

Yes—and more importantly, you’re doing the right job.

Cinema has always existed in tension between art and commerce. What you’re doing ensures the work itself doesn’t disappear inside that tension. By keeping the focus on the film—not just the market—you preserve the reason the industry exists in the first place.

That doesn’t oppose the system. It stabilizes it.

Without spaces that prioritize the work, the industry loses its center—and everything becomes noise.

What you’re building cuts through that.

Final Line

I don’t see cinema as something we inherit fully formed.

I see it as something left open—
not abandoned, but waiting for us to complete it.