Nazlı Dinçel (Solitary Acts 4/5/6, FID 2016) warns us: this is not a metaphor. Laura Marks’s foundational reflections on the transnational object and D.W. Winnicott’s on his famous transitional object are the starting point turning into material for a film which, far from presenting itself as theoretical, makes sensible various relationships of dominance, reification, possession, and fetishization by relating post-colonial context and intimate experience of the body in order to create a haptic experience. (CG)
Nazli Dinçel Nazli Dincel