IA is an exercise that explores the format of the interview – as testimony or as a document – and the values associated with it: transparency/manipulation, neutrality/ideology and subjectivity/objectivity. When the procedure is laid bare, the substance is transformed. It could also be described as a series of visions from a city undergoing a reverse metamorphosis, an encapsulation, we could say: Barcelona 1992. A series of interviews edited with the camera in 1992 and 1994, and subsequently compiled onto two DVDs. Through the manipulation of the ritual, the interview becomes a space in which processes of the construction of meaning are challenged. Meta-interviews, self-interviews, interviews with the medium, views.

In 1985 the Government of Catalonia initiated the so called Cultural Agreement, which established culture as means for an understanding between left-wing and right-wing parties. Culture was destined to manage the new democracy’s rethorics. If some aspired to get the story of the country; some other, the story of the capital. The right-wing dreamed the myth of civil society; the left-wing with that of the citizen. And both saw the bourgeoisie as the symbol of their aspirations, and incidentally, how to overcome their antagonism. The Barcelona Museum of Contemporary Art (MACBA) was officially born in 1987 as a reflection of that dynamic. The common good was kidnapped since private interests were confused with public debate. The series of interviews this documentary presents wants to capture that process and provide keys of interpretation about the current cultural policies. With contributions from: Oriol Bohigas, Manuel Borja-Villel, Xavier Bru de Sala, María Corral, Josep Miquel Garcia, Daniel Giralt-Miracle, Joan Guitart, Bartomeu Marí, Miquel Molins, José Montilla, Jordi Pujol, Josep Ramoneda, Joan Rigol, Leopoldo Rodés, Gemma Sendra, Pep Subirós.

Moi, un Noir. Reloaded, is a tribute to Jean Rouch and provides a free update / re-interpretation of Moi, un Noir, the film the French anthropologist made in 1957. While the original film was satisfying the eager curiosity of the western gaze about otherness from the safe distance of a film, Reloaded minimizes cultural differences and avoids the exotic. Under these assumptions, the film plunges into the daily lives of the characters, into their thoughts and reflections on their experiences as black, Muslim and immigrant subjects.