Nia DaCosta

So you can have people of color in the film, but you don't have to contend at all with their race and what that actually means for them moving through the world.

And the other version is the film is only about that.

It's here to educate you about the experiences of being a Black person or a person of color or a queer person or any minority, and that's a function of it.

But that wasn't really interesting to me when it came to doing this adaptation.

I really just wanted to represent...

characters in particular a black woman a mixed race woman in her experience not in an educational way but just saying yeah she's she's black and and this is a part of what that means in the context of the story so that it feels lived in it felt like what it feels like to live for the life as opposed to you know a seminar about race relations in 1950s england i i think i heard you say that the 1950s

I mean, everything you said, but also I'm really fascinated by the post-war period and how it shapes our lives even today.

I mean, it's so many of the conflicts that we're dealing with now are directly related to the end of that war.

And I found it really interesting how people try to recover and heal after, you know, 44 million people die.

And these conflicts have opened wounds and maybe pasted over some other ones.

And what a society does to say, you know what, we're okay.

It's over now.

Let's go back to normal.

And the women who'd been experiencing this new kind of freedom, you know, they're working now, they're kind of taking more prominent places in society or like are told the men are back.

Bye, girl.

Leave the factories.

You go home.

And then these men come back traumatized and they're told, OK, go back to work.

Thank you so much.

Let's go.