Uh, Jennifer, going back to something, times, you know, art and, and politics, should, like, in some ways art sometimes sets out to be political and with either films or documentaries or they deliberately try to shape society and influence thinking, so, so what do you see is the role in that, in that area?

Yeah, no, and I think this is, again, goes back to kind of their, the function and purpose, um, you know, of, of screen media, of the arts, um, and whether that's in the form of, you know, documentary or narrative, um, fiction films and, um, we see this, I think, increasingly in terms of, um, trying to influence, I suppose, people's opinions or trying to kind of highlight, um, you know, whether it's particular crises, uh, related to, you know, environmental issues, global warming, um, the situation in Gaza that, you know, sometimes it takes a kind of crafting of a particular narrative or a shaping of a kind of creatively to help shift and change people's opinions on it.

Um, so you see this quite a lot as well in recent years, um, coming up at film festivals, for example, where they're, they're become quite, um, politically loaded spaces.

The selection of, of what films to pick, it can be quite controversial, um, you know, 'cause it's seen as kind of aligning the festival with the particular point of view or in, in, you know, going back to The Edge here, an example of kind of taking a stand, um, on something like Gaza when, you know, obviously m- many in the kind of the mainstream media industries, um, might, might not take that perspective.

Um, so I think we see that more and more and that the, this is part of the function of these spaces as well with film festivals in particular, um, which have their origins in, um, post-war Europe, um, where they were partly brought in as a way to help, uh, kind of unify Europe and to have kind of, um, public spaces where, you know, different countries could all submit films and could have them kind of be represented and for, um, you know, particular aspects of that country to be represented in terms of the kinds of narrative, in terms of the filmmakers.

Um, but increasingly we're seeing, um, particularly with documentary, you know, this, this space for trying to, um, not subtly necessarily influence people's perspectives, but to inform them, to educate them, to help, um, change minds.

For example, um, a couple of weeks ago there was a premiere at the Venice Film Festival of a film called NASA, um, that was, um, made by two Israeli, um, filmmakers set in Gaza and really trying to highlight, um, you know, the kind of the ongoing genocide, the crisis there.

But, so I kind of, I don't know, it makes me wonder about the capacity of us to critique or to challenge or not to be drowned out by some of these things that are happening.