La disparition de Goya
Goya, painting the Disasters of War that he had witnessed, gave us the notorious “I saw it”. It is all about testimony. Here, following the painter’s lead, this involves exploring a bloody episode of the civil war that ravaged Lebanon from 1975 to 1990, the so-called Mountain War in 1983. The violence of civil war, but considered afterwards. How does one relate a massacre? Who remains to relate it? How does one depict the event? Who can do it? This is the ambitious course on which Toni Geitani embarks his generation, born after the events. In the aftermath, everything revolves around the perspective, the staging, the setting of the scene and the laying bare. From the event without images of it, Geitani moves via painting and photography to cinema, the cinema of Godard’s Passion, painting again. And on the horizon, Goya’s agenda and his famous El Tres de mayo in which, by the powers of succinct analysis and imagination, he denounces the Napoleonic repression in Spain. Both scenes serve an accurate but invented image. In order to do this, Geitani listens to accounts, travelling up and down the country and examining the landscape, confronting corpses and images in, for example, the disturbing scene where fantasy meets horror. And listening to today inhabited by the voices of yesterday, striving to contest the masks, like this representation of an ageing Jumblatt that haunts the film. This is the agenda of someone who did not live through the war but who is affected by its secrets, repressions and fractures. (NF)
Original version : Arabish, French.
Subtitles : English.
Assistant Director : Sarah Mashmoushi
Scenario : Toni Geitani.
Picture : Marina Tebechrani.
Editing : Toni Geitani.
Sound : Toni Geitani.
With : Sarah Atallah.
Production : Ashkal Alwan The Lebanese Association for Plastic Arts (Christine Tohme), Road 2 Films (Cynthia Choucair).
Distribution : Toni Geitani.
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 +
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 +
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 +
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 +