The Sun and the Looking Glass – for one easily forgets but the tree remembers
Ein Qiniya, a small Palestinian village in the West Bank, occupied since 1967. This is where Milena Desse is to make her own enquiries: how can one decipher remaining traces and reconstruct History? How can one shine a light, as they say, on such places? Determined to unfold the layers and work out the creases like so many clues about some buried history, the young director strives like an archaeologist, equipped with a magnifying glass and a camera. In a game of up close vs. far-off, launched right from the very first shot, the film becomes a scrutinizing detective in its own right. In turns, it focuses – with close-ups through the magnifying glass – on unearthed remnants, here rusty scraps of metal, there an eroded cartridge case, trying to spot relics of the past, like donkeys, or traces painted on the walls of restored buildings, and to show the frailty of the hidden remains and their stubbornness to bear witness, like in a palimpsest. But the magnifying glass becomes even more revealing, thanks to rays of sunshine, and produces a text. Light, as both a metaphor and a tool, obviously, generates a tale of how this area was like once, filling a white page, word by word, with sentences about what used to give body to this place. Going back and forth, like time itself going backwards at the pace of words filling pages, while we can hear a world of whispers, rustles, crackles, like so many indistinct yet insisting echoes of what is resurfacing. Like the trees in the title, whose bark is like peels that have turned involuntary into parchments, making them the unexpected witnesses of the chaos and pitfalls of History. (N.F.)
Original version : English.
Subtitles : French.
Script : Milena Desse.
Photography : Milena Desse, Mashal Kawasmi.
Editing : Milena Desse.
Sound : Sylvie Bouteiller, Montaser Alul, Chloé Despax.
Production : Milena Desse.
Distribution : Milena Desse.
Although the so-called “conquest of the Chaco” supposedly came to an end at the beginning of the 20th century, it continues today in hidden forms. Daniela Seggiaro, a native of this region,...En savoir +
Wendelien van Oldenborgh Wendelien van Oldenborgh uses architecture both as a setting and as an investigative tool to question politics and its history. We remember the formidable sophistication...En savoir +
Kyoshi Sugita A young woman takes possession of an apartment and on the doorstep, greets the former tenant who’s chosen not to leave a forwarding address. This woman thus enters the film and...En savoir +
Maria Iorio, Raphaël Cuomo How do you recount the facts of our time? By making a chronicle ? The facts announced here are made up of multiple comings and goings, from one shore of the...En savoir +
Lilith Kraxner Milena Czernovsky Who is Beatrix? Or rather: what is Beatrix doing? We see her playing, daydreaming with a giant inflatable ball, absent-mindedly watching the TV, washing,...En savoir +
Conakry, Guinea. On 28 September, 2009, the day of the first round of the presidential election, the elite praetorian guard carried out a massacre at the Stade du 28 Septembre. In 2010, a day before...En savoir +
On February 27th 2010, the central coasts of Chile were struck by a violent earthquake which killed more than five hundred people and damaged about 500.000 buildings. Three weeks later, once the...En savoir +
Returning to one’s origins always presents the risk of claiming deeply hidden roots, supposedly finally guaranteed. And the autobiographical enterprise is often confused with the desire for...En savoir +