 But what I would say for me, the hope lies, is in two things. One is that I think the young are very, very interested in either the kind of action that you talked about, the kind of protest action, and it happens all over the place in many ways. And also in the NGOs, the non-governmental institutions that do now function around the world and do far better work than I do on a daily basis when I'm writing. The other area that gives me hope is that when I talk to young writers and indeed young artists, they will say to me, I mean, I was in conversation with, public conversation with a wonderful writer called Zaidi Smith, who likes to encompass various traditions in her work, and she says part of her labor, part of her work, part of her life is constantly to carry on conversations with the writers of the past, with the writers of various traditions or artists of various traditions in the past. And that conversation, that ongoing conversation, feeds into the work that she does now. And I think that's true for all of us and for all artists. And I find hope in that. We haven't had a complete rupture despite our culture wars. We talk a lot about artists, but we didn't talk much about the masterpiece itself or the painting. I think it's also very important to know. I think, I believe, maybe it's too mystical, but the masterpiece itself has its own energy, its own life. Once it's created, it leaves its, it cuts its connection with its creator. And it continue living and changing and evolving in our world. So, and I think that the greatest possibility that we have with the masterpieces, with the art of my father's films, and I'm bringing the testimony of the people I met working on the foundation, meeting the people that was saying that the film's art, my father's art, can change them. They change their lives. If art, the masterpieces artwork is capable to have an energy to change someone's life completely, I met people who were scientists or engineers. They became priests after seeing Tarkovsky's films. So that's something very powerful. And I think it's not only regarding the examples, I think, that all over the world and it could happen with all the paintings and artworks and musical pieces. So if we have this, we still could have hope. And this film is about the hope nonetheless that the situation was so grim and my father's in my documentary is very negative about the reality of things. But he never left the idea that there's always something that we have tend to. Until we leave, we have to evolve spiritually. And that's actually, I think, the dedication he gave to all of us. Well, the film dedicated to personally, but it's dedicated to all the children coming afterwards. This idea that we clearly are imperfect, you know, but there isn't much more than we can do to work on those imperfections, work it collectively, know more, understand more, also about what we, about these imperfections. And for me, that actually is the greatest source of hope. It's this fact that we can learn as a world. Clearly, we do that with ups and downs. Art plays a very important role in the sense, for me, it's kind of an antenna. It's a radar screen where you see things, you know, blips of a very, very distant future. But I think what we do need is this sense of, I would say, it's not ownership and certainly it's responsibility. It's not that time pushes us, you know, unwillingly in a certain direction. We, you know, it's all, it's self-inflicted, right? It's, this is the world that we create together. And the hope is by understanding more about it, I think, about ourselves, about how we interact, how this all came to being. That, and I think, you know, in the end, very, very, very basic human skills of patients, trust, dialogue, things that are as important now as they were in distant past and distant futures. I think that's actually the way that we can carry that responsibility. Fright was practically people of Nietzsche in many things. And Nietzsche, that in his gay science, really his business, through his madman, who was the herald of the death of God, aren't those churches just tombs and tombstones of the dead God? And I ask, I ask it the same question in the pandemic, in this lockdown, when the churches were closed, I wrote a book time of empty churches. And I ask if the church, if the Christianity will not have a revival, but not this revival in this Pentecostal, evangelical way, to go deeper, to go deeper. So it may happen that the churches will be just the tomb of the dead God. But the empty tomb has, in Christianity, also another meaning. Absolutely. There are two angels saying, why do you seek the living among the death? So we shouldn't seek the living God among the death in the tombs. We should go to the gallery to meet him again. And I think the face in the resurrection, it is the courage to seek the living, to seek the Galilee of today, to see the living, the resurrection, who is absolutely transformed. So the resurrection is not to go back. Some revival of the dead corpse. It is the surprise, absolutely surprise. And I'm saying absolutely new. And also in the gospel, the nearest and nearest of Jesus are not able to recognize him, Mary Magdalene, Mimic Gardener, and so on. And he's absolutely surprised. And the Apostle Thomas, the patron of us adopters, he recognized him by the wounds. And I think it is the sign. We should recognize the living God, living Christ, living culture, living spirit. They call it the wounds. Because if we ignore the wounds of our world, we have no right to say, my Lord and my God. And there are the illusions, but I think the wounds of our world, they are the place we can meet the living God in anonymity and as a surprise. And I think the heart is doing this. And practically all the films we have seen, it was this topic, the wounds of our world, they are the place we can recognize something sacred in an absolutely new way.