A woman poses. A man with a camera zeros in on her and takes a picture. But very soon, the shoot degenerates. Each click of the camera sounds like a machine gun. No-one speaks; the editing is disrupted, and with it, the images, the spaces and the timing. The woman escapes. In an abandoned building, a man, as mute as she is, shrinks from her gaze. It is he that the film now follows: he explores a museum exhibiting the history of Africa, its suffering and its external interferences.
Matata draws up an inventory of Africa and the legacy of its representations. Speech is confiscated, and the man and woman wander without ever being able to vocalise the violence that they were witness to or victim of. Right from the outset, photography, and with it, cinema, are as much a predatory technique as an instrument of beauty: ethnographic documents filmed by the coloniser, or historical images of those who played a part in decolonisation, now dead and neutralised in museums…
Faced with this history of exploitation, bodies resist. When speech is absent, music takes the floor, and choreography invades the living spaces – a group of young men improvises a dance in a jeep that’s stopped at the traffic lights, an exploration of ruins becomes an intricate ballet between people looking for each other, and even an ancient ceremonial dance is reconnected with concealed history. Or how, with a reifying gaze, the possibility of becoming the subject is apparent once again. (N.L.)
Original version : No dialogue.
Screenplay : Petna Ndaliko Katondolo, Chérie Rivers Ndaliko.
Cinematography and Editing : Petna Ndaliko Kotondolo.
Music : Lee Lee Weisert, Jaja Bashengezi.
Sound : Lee Weisert.
Cast : Kadima Mukadi, Mustache Muhanya, Dorine Mokha, Bienco Hangi.
Production : Alkebu Film Productions (Chérie Rivers Ndaliko), London South Bank University (Dr. Katie Donington).
Distribution : Arsenal (Angelika Ramlow).
- KAPITA, 2020.
- And We Became God, 2020.
- The Dead Are Not Dead, 2016.
- Mabele na Biso, 2013.
- Jazz Mama, 2010.
- Goma Capitale du Cinéma, 2005.
- Lamokowang, 2004.
- Théâtre Brûlé, 2004.
Sandlines was how the Sykes-Picot agreement was described, which laid the foundations for a century of outside interference in the Middle East and a history of violence that is still going on. It is...En savoir +
A woman poses. A man with a camera zeros in on her and takes a picture. But very soon, the shoot degenerates. Each click of the camera sounds like a machine gun. No-one speaks; the editing is...En savoir +
A series of logos and the names of the companies they represent. Some are unknown outside Argentina, and others are multinational corporations established all over the world. And then, the industrial...En savoir +
The title, quoting Nietzsche describing Man as a sick animal, seems to fit Jean-Luc Nancy, famous for his thinking and especially his striking account of his experience of a heart transplant. But...En savoir +
A little girl, about ten years old and already sharp-tongued, is sitting on the grass next to a pond and talking to Hugo, off-camera. They’re discussing Chaïnes, whom this one was in love with…...En savoir +
Neither hostel nor specialised centre. A house: this is how a mother describes the living area – just as Fernand Deligny, who inspired them, formerly called his own in Monoblet – where her son...En savoir +
Connect several vessels at the bottom, pour liquid into one of them and the liquid will flow between all of them until it reaches the same level in each. This is the principle of communicating...En savoir +
Language, words, images, and their complex mazes are crucial questions for writer and filmmaker Florence Pazzottu. Audiences may have seen Trivial Poème (FID 2017), which combined a political stance...En savoir +
It wasn't the right mountain, Mohammad: we never get to know who Mohammad is, nor which mountain was the right one. What we do know is what happens on the wrong mountain: the crossing of paths...En savoir +
While visiting friends, Frédéric Pajak is captivated by a picture hanging on their wall. The painter is François Aubrun, who has moved to live a few yards from where Cézanne painted the Mont...En savoir +