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Salomé Jashi explains more about the film. Cineuropa: and how did you ed with your camera? Salomé Jashi: Much of the transplantation work was either happening in public spaces or was visible from a public space. So, in some cases, we would just show up at a place where the uprooting was happening and start filming without asking for official permission. But mainly, we built up a network of contacts in many different locations, establishing a more personal level of trust and connections with the engineers and the people employed to carry out the work. As we were filming for months and they got to know us very well, we received permission to film fairly discreet episodes from up close. With my researcher, we were often surprised and asked ourselves how we could possibly get access to film basically every stage of the process, which is also quite political, considering the political bias and power of

United statesRoy anderssonGideon koppelUlrich seidlSergey dvortsevoySergei loznitsaBidzina ivanishviliLeos caraxWorld cinema documentary competitionSundance film festivalPieter bruegelஒன்றுபட்டது மாநிலங்களில்ராய் ஆண்டர்சன்கிதியோன் கொப்ப்பெல்உல்ரிச் செட்ல்உலகம் சினிமா ஆவணப்படம் போட்டி