[laughs] What do you believe is the main role of feminism in film history today, and the main kind of motivator for all of that labor? What's the main, yeah, what do you think the, the kind of role is there?

I think, I think that's such a great question, and I can really only speak from, from personal experience, but I really think the feminist film historiography has, has taught me that, you know, history is not set, it's not finite, and it's not done.

And it can, we can completely be revisiting it and rewriting it from different perspectives endlessly.

And I think that is really embodied in a project like WFPP which, you know, we respond to new film discoveries, and we can update, we can transparently update a profile or a filmography.

So that is this exciting idea about film history as, as, as, as never being complete.

And I think also feminist film historiography has taught me that there's really this potential in, in loss, material loss and fragmentation and absences and silences in the archive.

And, you know, a lot of films, a lot of silent films in general are lost, but a lot of silent films by women are also lost.

[laughs]