Ending the Qumra 2017 Master Course, award-winning movie director and screenwriter Lucrecia Martel directed emerging filmmakers to understand the innate common denominators that form our perceptions of reality - and to test these to provide new mind-sets.

Martel's interactive and provocative class was highlighted by simple exercises using drawing, language and film to demonstrate that, although mankind is various in lots of ways through nationality, society or social histories, it shares the exact same commonalties of reality.

These typical truths are cinematic constraints, claimed Martel, as they bind us to existing details in particular means, restricting our boundaries just like a jail cell. Nevertheless, "there are tools to unlock to these prison cells - cinema is just one of these devices."

The meaningful Argentinean, that has a background in visual interaction, took the audience on a journey to comprehend how fact has been set into us with our experiences, academic journeys and the world's visual communication.

Martel discussed the notion of, faults where we realise reality is not as it seems. This was demonstrated by a home-made video taken in the Qatari desert forgeting Richard Serra's renowned "East-West/West-East" steel frameworks.

Warping the audiences' analysis of the film, she turned the picture inverted so the brief movie offered a new reality. "The blue skies is currently the sea, the desert landscape a coastline; by introducing new sounds of waves and private yacht engines, a new motion is also created where customers are taking a trip in the opposite instructions," producing an entirely new perspective of fact.

Martel expanded on the importance of sound in film by keeping in mind customers can close their eyes to quit viewing, yet audio continues to illustrate the cinematic experience, which can produce a further communication for the target market.

" Sound is the only thing to physically influence spectators from a responsive point of view in a film, despite the fact sound isn't really perceived as tactile," she proceeded, it's just what leads us into the core characteristics of 3D movie theater.

This is evident in Martel's first function film, La Cinaga(Argentina, France, Spain, Japan/ 2001). Filmed in a modern, neo-realist design, it simmers with claustrophobic fear, utilizing ominous natural foreground sound to represent the scary of a household. The movie was screened at Qumra 2017 as part of the Modern Masters Screening.

Collating her abstract ideas on reality, Martel urged young filmmakers to push themselves from their convenience areas and to develop these 'mistakes' to expand fact. To test preconceived ideas of reality, "it is not where to put the cam and spotlights, it's finding methods of seeing past the organized and organised reality."

Closing the talk, Martel claimed filmmakers "have a fantastic advantage, as people share their secrets and dreams for us to imagine into film. It is our function as motion picture storytellers to transform and share new ideas with the world."