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Film director Mārtiņš Grauds. Photo from the personal archive

This five-minute film won the festival’s Grand Prix, and Aigars Stirna, a tango instructor and our fortunate discovery for the main character, was recognized as the best male actor in a leading role.

Since Diane Pernet is trying to promote this genre as a noteworthy and important cinema artifact, a compilation of ten shorts was put together. Over the last year, the compilation has traveled all over the world—it has been to Japan, Great Britain, Poland, Georgia, and elsewhere. Diane says that Lust Lust has been well received.

What do you think of the achievements of other festival participants? And what was the key to Lust Lust’s success?

The other works didn’t have a linear narrative, like the kind you see in Lust Lust. This is possibly because the fashion designers for the other films collaborated with video artists and photographers, and here you’ll find a predisposition to create beautiful outfits. In Lust Lust, however, the key to its success lies in the fact that the work is and remains a short film with a great reverence for costumes. Costumes are in the main role, yet they aren’t emphasized. 

Fashion people liked this story and the traditional film format, where outfits are given lots of attention, yet at the same time remain discrete. Nothing is poked in your eye with a finger, though four outfits are shown in five minutes.

If I were to participate in, say, a makeup festival, I’d try to tell a story there, too. Yet then I’d tell a horror story, where makeup has a chance to express itself. It would be a story with scars and blood, possibly in some clown setting. All of the attention would be turned to the makeup, but always within the boundaries of a story. If it were a pyrotechnics festivals, then it would possibly be some sort of war scene, with exploding cars and other fireworks.

In the case of Lust Lust, a fashion designer has worked with a film director, and the collaboration was successful. What this the key to this collaboration’s success? Is the key to its success the fact that representatives from precisely these two professions came together, or the fact that these people were Keta Gūtmane and Mārtiņš Grauds?

It’s hard to say how it would be in another combination, in another relationship… Yet the stars always align correctly. Keta and I met even before the film project; we talked and each of us whined about the carelessness in our respective fields. We understood that if we made something together, it would be something big...!! And then came the offer and the opportunities. If the stars continue to line up the right way, then our collaboration will continue in the future.

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