I have been searching and exploring the differences between eroticism and pornography today in art and I have tried to project my idea of eroticism through the representation of a women's sexuality. This film is a metaphor of the feeling of a woman in coitus in reference of George Bataille. The intimacy of the screen, the possibility of showing characters in their most private moments, at very close range, in close up, is conditioning the viewer for the next step, the next phase of subjectivity, their penetration of mental flow. The representation of thoughts and emotions streaming through a character's mind is important to me in cinematic expression. It grants penetration beyond the character's surface behaviour and reaches inner dimensions of his existence. Each composition of a static dialogue scene is absolutely appropriate for its emotional weight, with little movement.
On March 31, 2002, Samir Abdallah, a filmmaker who was part of a civil mission to provide humanitarian aid to the Palestinian people, entered the Muqata (the compound containing the headquarters of Palestinian president Yasser Arafat), under siege by the Israeli army.
UntitledThis short film, taken from the feature La Folle de Toujane, brings to the foreground a political event almost separate from its main storyline. René Vautier plays a “committed” director-producer who has just witnessed the brutal beating of an “Arab” by the police in the street, right in front of the café where he's having lunch. The scene deeply shocks him; he doesn't react in the moment, but promises himself he will one day make a film about what he saw. This scene, which refers to the massacre of Algerians in Paris (October 17, 1961), powerfully symbolizes the importation of the criminal mindset that fueled the French army’s intervention in Algeria. It reminds us of the reality of extreme violence, still present in collective memory and yet never acknowledged by a France that continues to deny its responsibility. A denunciation of the self-censorship of French filmmakers in the 1960s and ’70s when facing the reality of state racism.
Panorama of Moroccan video. 6th Independent Vídeo & Interactive Phenomena Show
UntitledA French government report explaining the reasons why it was impossible to accept Algeria’s independence.
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Those in power, who see any original idea as a potential seed of disruption and subversion, do not encourage the discussion of ideas or the return to our own values in order to arrive at more humane forms of development. As I made this film, I realised the extent to which Africans ignore their intellectuals. For some time now, they've been warning us about the options being imposed from outside, whether it be international banking, the IMF or even the former colonial powers. It's as though Africa lacked all trust in its intellectuals. Dr. Bado is a typical example of this contempt and lack of understanding. Those in power, who see any original idea as a possible seed of disruption and subversion, don't do anything to encourage discussion of ideas. My intention was to record Dr Bado's ideas so that future generations with greater awareness can take into account the neeed for a return to our own values in order to arrive at more human forms of development.
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On Sunday October 18, 1970, the last day filming “Flower of the Arabian Nights” on location in Sanaa, the capital of Yemen, Pasolini decides to use some leftover rolls of film to make a documentary about the city and thus persuade Unesco to intervene to protect the beauty of this world heritage. ”With every passing day, one part of the Sanaa walls falls to pieces... One of my dreams is to save Sanaa and other cities – their historic centres. I will strive for my dream and endeavour for Unesco to intervene”, says Pasolini.
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