To be sure, « chaos » names the cause, the sinister cause, of everything at stake here: war devastating Syria, a country and its people. « Chaos », however, is also the name of its consequences: losing one’s way and one’s bearings, exile, madness, absence of speech, and the meager exercises of survival. Sara Fattahi’s second feature-length film invites us to follow three women. One, quite elderly, cloistered in her apartment in Damas, her household rituals rehashed as a way of remaining close to her murdered son. The second one, exiled in cold Sweden, does not painting to exorcise demons. The last one, in silence, wanders around a deserted Vienna: in the subway, the museum, an empty apartment. Occasionally, we hear Austrian writer Ingeborg Bachmann’s voice o -screen: we all know how much she worked, in a post-war context, to find a language cleansed of past outrage. If such montage technique brings to mind other makers of testimony, no doubt among the worthiest, it is nonetheless flagrant that, following Bachmann’s example, Sara Fattahi is looking elsewhere, barely feeling her way through, as if molding a unique cinematographic language. And as if secret was really pushing it forward; as if doors, windows, glasses, the edge of the forest, and thresholds of all kinds – as they constantly punctuate Chaos – were its guardians. In this eminently overwhelming film, war ultimately gives up its place for something else, through the portrait in chiaroscuro of what chaos might mean at the heart of feminine labour. (J.P.R.)
Original version: Arabic, German. Subtitles: French. Script and Image: Sara Fattahi. Editing: Raya Yamisha. Music: Nadim Husni. Sound: Sara Fattahi, Bruno Pisek. Casting : Raja, Heba.
Production and Distribution: Little Magnet Films (Paolo Calamita). Filmography: Coma, 2015.
EP – Histoire(s) de Portrait
Cinema and television also have their own lumpenproletariat, so far away from sequins, mu ing the screen. Marwa Arsanios only chooses to keep amateurs and extras so she can turn them into...En savoir +
A young woman is reading The Songs of Maldoror. But the reading is unsettling: the voice over is split and repeats itself; the voice of the reader is followed by a whispered, hushed voice: the same...En savoir +
Alongside images, a text: poetic prose that punctuates a flow of images (of Provence, relatives, animals) that bit by bit form a network – remanences of the Algerian war that surface in the...En savoir +
A sequence shot of the slightly slow-motion movement of hands massaging and caressing the surface, textured with scars like a zebra skin, of a vaguely anthropomorphic wax sculpture. For sound, we...En savoir +
The Republic of Karelia is a region in Russia on the border with Finland. It’s home to the Pankrat’ev Family with their Shamanic legacy, devoted to communing with nature and holding on to...En savoir +
A shooting: the blocking, the settings, the resumptions. Antecâmara uses images captured by the camera in-between takes. Then a dialectic of the gaze, both determined and free, sets in between the...En savoir +
Kain the Poet, the eloquent and loud-mouthed African-American and pioneer of hip-hop, reads accompanied by the experimental percussionist Lander Gyselinck. At the heart of his poem lies a cryptic...En savoir +
A mother writes to her daughter, from one paradise to another: one is on holiday in the Mediterranean, the other is in a foster family in the Southern Hemisphere. On screen, shots of Italy alternate...En savoir +
At FID (2016) we discovered Je rey Dunn Rovinelli’s first film, the unsettling Empathy where we were invited to follow the enigmatic Em, a young sex worker, from New York to Los Angeles. Here Je...En savoir +
To be sure, « chaos » names the cause, the sinister cause, of everything at stake here: war devastating Syria, a country and its people. « Chaos », however, is also the name of its...En savoir +