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Director's Statement
How does the director's bias influence the representation of the other?
Documentary cinema is a powerful tool for portraying the world, but is based on an intrinsically imbalanced relationship: holding the camera also means holding power over how the other is represented. Given the variables of this imbalanced relationship, a process of questioning (and self-questioning) of the gaze, stand-point, and perspective in this representation is crucial. This reflection becomes even more important when there is uneven power in the relationship owing to race or to a colonial past. At a time when it became essential for cinema to hear and portray the voices of those historically and socially under-represented, it is important that their stories cease to be restricted to a prevailing Western and white gaze, and to a system where the entitlement of standing “behind the camera” is preserved and perpetuated. NHA SUNHU is a fictional film based on the real cycle of exploitation of African football players in my home country, Portugal. Subverting expectations from a documental approach, the narrative turns the spotlight back onto the director, questioning his role: who is the one telling the story and how is the story being told?