en Cuevana 3. “In 1992 I bought a small mini-DV camera to film my diary and fix my memories, which have become “transparent” due to my nomadic life. When I returned to my village, I learned that an attempt had been made to poison my great aunt Yasmina. I went to visit her and that's how I started this movie without knowing it. Very quickly I was caught up in Yasmina's oral novel and its great secret. I was working at the time, in Europe, on my exhibition "The 60 Names of Love". My life was divided between two exiles, here and there, between the Gregorian calendar and the Hegira calendar, between the drama of Yasmina and my journey to the heart of the Arabic language and The 60 Names of love.” Nacer Khemir