FLMTQ: The film's 4:3 ratio gives it an almost claustrophobic quality, as if Jesse cannot escape his surroundings, his reality, his grief. This format also mirrors the square-like framing of the CCTV cameras from the opening shot— suggesting displacement, lack of agency, or distance. How did you seek to enact certain feelings throughout the film using this shooting format?
BD: Apart from this claustrophobic feeling, which relates to how an audience perceives the film, the format also forces us as makers to look in a different way. We are very used to the scope format, which has it's own set of rules. When you change the format, you have to reframe these rules.
FLMTQ: Any new projects in the works?
BD: I am currently editing my second feature film, Ascension (working title) about the city of Brussels, where I live, after the terrorist attacks of March 22, 2016.