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 sites that correspond to each of the logos. Behind his windscreen, Jonathan Perel films the factories, the buildings and the entrance gates. It’s the words that give these images their meaning. In his car, Perel reads aloud a report detailing each of these companies’ participation in the assassinations, torture, kidnappings and worker repression that followed directly on the heels of the military junta’s arrival in power.
The language may be judicial, but the act is political: how does one ensure that the reality is heard, the reality of active participation in, or even incitement to state violence beneath the veneer of ‘business as usual’? As in his earlier Toponimia, Perel has only one passion – to exhume the traces that anchor the today’s landscape in the time of repressed history. But this time, he throws himself into the act of filming; the reading is rapid, a fevered race, enraged and in a hurry to say everything before he’s spotted by the security guards – any interruption will add silence to the amnesia. The camera is hidden away in the car, reminding the audience that it’s impossible to openly film these structures that still define an unchanged background. Showing these constraints reconnects with the demands of political cinema, refusing to confine the memory of the vanquished to oblivion. Filming despite everything and speaking out whatever the cost is to arm oneself with one’s own fragility. (N.L.)
Original version: Spanish.
Subtitles : English.
Cinematography, Sound and Editing: Jonathan Perel.
Production and distribution : Jonathan Perel.
- 5-T-2 Ushuaia, 2016.
- Toponymy, 2015.
- The Waters of Oblivion, 2014.
- Tabula Rasa, 2013.
- 17 Monuments, 2012.
- The Murals, 2011.
- The Lot, 2010.
- 5 (five), 2008.
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 +