In the main roles: Vilis Diņš, Iveta Pole, Andris Keišs, Jānis Skutelis, Gerds Lapoška, Alise Dzene, who are also co-authors of the script.
“The story of the film refers to the present, our times, when we see that it is possible to kill not only a small part of society or individuals, but also large masses of people.
The film raises the question of the importance of developing, promoting critical thinking, the ability to think individually and make decisions. The question arises as to the mechanisms of manipulation, where and how are they formed? We see that it still has great power as an instrument.
I think that the very basis of this is actually a very simple human desire to want to live well, to be a good person, to be happy. And often these systems offer you answers to important questions about your place in this world, your mission and, relatively, the meaning of life.
But you have to be very careful and cautious, because it is easy to fall into the manipulative trap if we lose the ability to think critically, question, ask questions, compare information, its sources, ”says actress Iveta Pole.
“The Taste of Water”, like director Matis Kaža’s 2020 film “Cinema and We”, could in fact be considered a hybrid between cinema and theater.
“The Taste of Water” is also captured in one continuous shot. Once again, the cinematographer was Aleksandrs Grebņevs, for whom it was a serious physical and creative test, because there is no editing space in the film, and everything that the viewers will watch takes place in real time for hours and forty-five minutes.
We are not fooled by any hidden assembly points. Filming has been stopped several times. Only on the last day we took a double shot, which you will see in the film “The Taste of Water”, “says Matīss Kaža.
The theatricality of the “taste of water” is enhanced by the fact that the work was taken in an apparently conditioned environment. 23 scenery was made at the Gertrudes Street Theater and the National Film School.
“I am convinced that one-frame films are something special, something that in a way contradicts cinema, which is inherently a hoax. Each member of the group is co-responsible for making the film to the same extent, no matter what position he holds in this project – any mistake can lead to failure, so it is also a gamble, it is a game of survival, the survival of the film, ”adds cinematographer Aleksandrs Grebņevs.
