Sirât

I mean, oh my God.

That feels like eons ago, Sirat.

I mean, it kinda was.

[laughs]

It's incredible how good he is.

I don't know if you've read a very interesting anecdote, because sometimes in the cinema world there are also gossip, I think it came out in El Mundo, it's not like I invented it, now I'm in a bar, that Soro Goyen and Sirat Oliver Laxe argued in a bar, in Bilbao, I don't know where.

And they argued because Sorogoyen doesn't think that Sirat is a great movie and he believes, so you can see how he is a technical director, he believes that...

Have you seen Sirat? The climatic moment of that movie, the bizarre moment, Sorogoyen believes that it is badly resolved, that is, that it is badly filmed.

You realize that if you film a movie about the murder of Kennedy, You have to think about each shot, but the murder is important because it's the center of the film.

So, do I film it from here, from here, or a single shot, or do I leave it elliptical? So, he believes...

And then the kid gets stuck in the car.

It's called Sirat.

So Sirat very famously has a kid die in a very unexpected fashion.

And the kid is an innocent being here as most kids are.

And it was traumatic.