“Our films became less & less eloquent, more sober & practically mute... Satori is like a scream, a moan at its maximum degree, a black & white opera, and that's how it was supposed to be since it was the first 35mm film by Kinoarte. Booker is already a kind of broken film, digressive, almost a note out of tone—the film chases and overlays the characters. While Haruo is a "realistic" film, a homage to Japanese cinema, the only film in which we have a concrete character & an almost narrative approach. I think Haruo has a deeper connection to the Trilogy in the sense that all 3 films were made as if they were documentaries on what we DO NOT know about the characters—usually a story is constituted of what we do know. What interested us was the opposite—to invest in what we didn't know.”