1991 is a key date in the construction of the global empire. At the start of the first Gulf war, George Bush "the father", paraphrasing a soldier, declared: "I don't think we're in this war over the price of a barrel of oil, we're here to define the future of the world for the next 100 years".
UntitledGuerra
116 Archival description results for Guerra
From the front-lines of conflicts in Mexico, Argentina, South Africa, Palestine, Korea, 'the North' from Seattle to Genova, and the 'War on Terror' in New York, Afghanistan, and Iraq. The story of men and women around the world who resist being annihilated in this war. While our airwaves are crowded with talk of a new world war, narrated by generals and filmed from the noses of bombs, the human story of this global conflict remains untold. "The Fourth World War" brings together the images and voices of the war on the ground. It is a story of a war without end and of those who resist. The product of over two years of filming on the inside of movements on five continents, "The Fourth World War" is a film that would have been unimaginable at any other moment in history.
UntitledHappy Birthday to the National Front! For a long time, driven by the need to establish a dialogue around the Algerian War, René Vautier recorded the testimonies of Algerian independence activists, French conscripts and reservists, generals of the French army, historians... Thus, Mohamed Moulay, Ali Rouchaï, Mohamed Loulli, Germaine Tillion, Paul Teitgen, Pierre Vidal-Naquet, Colonel Antoine Argoud, General de Bollardière, and General Jacques Massu, among others, gave their testimony before Vautier’s camera. A documentary long unseen that reminds us where the National Front comes from, which changed its name and gained some respectability after Jean-Marie Le Pen’s leadership. Warning: The film is a rescued copy. The technical quality is degraded, but that is only a detail... The Man with Bloody Hands (by René Vautier) I had embarked on a historical project: recording on video tapes the “memories” of witnesses of the Algerian War, so that one day young students from France and Algeria could write together, in images, a common history of the relations between the two peoples. I was told about a man, in Saint-Eugène, who, despite having been tortured, had trouble asserting his pension rights because he had never been a member of the FLN. I interviewed him somewhat by chance: he told me about his tortures, and how, between sessions of “gégène” (electric torture) and “bathtub” (immersion torture), his torturers had pushed his thumbs into his eye sockets: “as if they wanted to make my eyes pop out.” Then I did what I always did: showed him a series of photos of paratrooper officers, to ask if he recognized his torturers. Very dignifiedly, he told me he could no longer see... but he added: “I have a paper from Mr. Mayor (the mayor of Algiers at the time was Jacques Chevalier, former Minister of Defense under Mendès-France) where the name of the paratrooper lieutenant is written.” That’s how I saw that the name he couldn’t read — he had gone blind due to the tortures — was that of Lieutenant Le Pen. I had Jacques Chevalier’s signature authenticated by his family members and people who had worked with him; I checked documents from the time — there was no doubt. Apparently, there is a law in France forbidding the use of testimonies about atrocities committed during the Algerian War. Let’s not be ridiculous: Austrians are suspected of putting at the head of their republic a man accused of having “covered up” tortures, and yet we should hide from the French documents that the whole world will feast on during the presidential elections? Because no law can prevent the whole world — except France! — from knowing that we will have a candidate not only with delirious statements but with bloody hands. This article was published in L’Humanité on September 29, 1987.
A Journey in Afghanistan. After two decades of chaos and destruction, a country searches for its identity. Eight places. A cinematic encounter with people and their realities. A nightclub, a school, a hospital, a taxi – the people there talk about daily life in Afghanistan beyond the war and the Taliban. The director observes people and incidents on his journey, starting in the northern province and eventually reaching the capital Kabul. The result is a mosaic, presented as episodes leaving out West-European commentary.
UntitledTells of the horrific forced journey undertaken by thousands of prisoners who surrendered to America's Afghan allies after the siege of Konduz. Bundled into containers, the lucky ones were shot within minutes. The rest suffered an appalling road trip lasting up to four days, clawing at the skin of their fellow prisoners as they licked perspiration and even drank blood from open wounds. Up to 3,000 now lie buried in a mass grave, but this was NOT a simple matter of Afghans killing Afghans. This documentary tells of how American special forces took control of the operation, re-directed the containers carrying the living and dead into the desert and stood by as survivors were shot and buried. And it details how the Pentagon lied to the world in order to cover up its role in the greatest atrocity of the entire Afghan War. This is the documentary they did not want you to see. The documentary was produced over ten months in extremely dangerous circumstances: eyewitnesses were threatened, the film crew went into hiding and our researcher was savagely beaten to within an inch of his life.
UntitledThrough the story of Bir'im, a destroyed Palestinian village, we encounter Nahida and two other women from the kibbutz built on its land. The trio's moving story focuses on a struggle for the return of the villagers to their homeland, a central issue in the Palestinian experience.
UntitledAt the dawn of the Algerian independence struggle, René Vautier produced a film about the French conquest of Algeria in 1830. It was severely criticized by the French Ministry of Foreign Affairs, which regarded this prediction of an Algerian rebellion against the foreign oppressor as a danger to national security. In reaction to this accusation, in 1957 René Vautier went over to the "other side" and shot, camera in hand, a film about and with the Algerian resistance movement. René Vautier wanted to show what he saw and counter the French colonial propaganda version. Naturally, the French side sought him out for what they considered to be treason. Nevertheless, 800 copies of the film were printed from East Germany, in 17 languages, and distributed worldwide (except in France, where it had to wait for a screening at the occupied Sorbonne in May 68). But not all Algerian independence fighters agreed that their revolution should be filmed by a Frenchman, especially as René Vautier's contact had been liquidated. Caught up in the meanders of revolutionary power struggles, and without being told why, the filmmaker is detained in a prison by decision of the Provisional Government of the Algerian Republic (GPRA) along with other Algerians, while the film is broadcast by the FLN... Twenty-five months in a prison in Denden, west of Tunis. After the declaration of independence, René Vautier founded the first Algerian Audiovisual Center and directed the first film in independent Algeria: Le peuple en marche. During this shoot, René Vautier was wounded three times. He came under direct fire from the French army, deliberately aimed at his camera. A piece of shrapnel lodged in the Breton filmmaker's (hard) head. He would carry this memory with him all his life, making him probably the only filmmaker with a piece of camera in his head.
The testimonies of Arab infiltrators in Israel.
UntitledCivilian casualties continue to mount long after wars “officially” end. I shot these video images of preserved fetuses and living children in a Vietnamese hospital in 1991. Medical professionals believe that the continuing high percentage of birth defects in Vietnam is a direct consequence of the US use of Agent Orange from 1961 to 1971. Depleted uranium weapons used in Iraq in 1991 are now linked to similar birth defects, both in Iraqi children as well as in babies born to soldiers serving in the Gulf War.
UntitledAnitia is the hero/heroine of this video. Constructed from old damaged film fragments, combats fighter bomber attacks in Bombay mixing latencies and sounds of celluloid with subliminal images of safety and death.