Monday November 28 at 2 pm : Screening, Discussion

Let our lives seem like a perfect movie (64′)
a screening program at Gaza French Institut, Monday, November 28 at 2pm

In July 2022, the IV went to Palestine for the realisation of the 7 biennial of video and performance art /si:n/ that we co-founded with our partners from the A.M. Qattan Foundation (in 2009). It is a story that weaves itself in time to better anchor itself in the daily life of the two territories. For us, cooperation also means bringing back knowledge, experience, understanding and imagination of the other, of the elsewhere, which will stimulate the “inner journeys” of those who engage with us. This is why we want the festival to welcome a return from Palestine to Marseille but also make a stopover in Gaza.
The inhabitants of Gaza are invited for an international screening programme followed by a video-conversation with the IV artistic team and some of the artists presented.

« A little bit of plastic beauty to erase the dark circles around our eyes
Of chemical pleasure for our brains so dull
Let our lives seem like a perfect movie » (L)

How does it feel to be punched in the face? (3′ – 2021) / Fran Orallo (England)
The video consists of a glitch of a looped sequence that shows a teenager getting punched in the face in slow motion.

Bab Sebta (20′ – 2019) / Randa Maroufi (Morocco)
Series of reconstructions of situations observed in Ceuta, a Spanish enclave on Moroccan soil. This place is the scene of a traffic of manufactured goods and sold at a discount. Thousands of people work there every day. 

Fluxus (0’54 – 2021) / Reinhard Hoelker (Germany)
A young man has been thrown onto a bridge as if by magic, trying to find support. This seems difficult as perspectives change. The uncontrolled balancing act is supported by the sounds of space. 

The World and the Machine (9’19 – 2022) / Jean-Fançois Côté (Canada)
Roland, 91, walks during the winter in a field as wide as the eye can see where the borders are disappearing and in which he meets and confronts his fear.

On Off (2’59 – 2020) / Shingyu Kang (South Korea)
I heard this from someone who was depressed one day: imagine a button that turns on and off bad feelings. A TV turns on, and the woman open eyes.

Pretend You’re There (2’29 – 2021) / Katie Colosimo (USA)
Pretend You’re There is a film about how daydreaming, the internet, movies, TV, and growing up can influence how your reality feels.

Devil’s Chapel (8’11 – 2020) / Mario Manríquez (Argentina)
After finishing building his chapel, Lorenzo suffers a depression and is locked in it for three years. When he opens the doors he calls his children to show what he did: good and evil. 

Confluence I (8’45 – 2014) / Davide De Lillis, Julia Metzger-Traber (Germany)
Varanasi (India) is the site of convergence for three revered rivers: Varuna, Asi and Ganga. The mythology of Varanasi communicates an archetypal interplay of form and unformed, birth and death, observed as fundamentals of nature through tales of personified dynamics.

Press Pound to Connect (2’31 – 2019) / Alexander Fingrutd (USA)
We are connected to more than what is immediately around ourselves: to each other, the planet, and the farthest galaxies. The similarities between these connections are represented through overlapping images. It shows a change in perspective and brings us to a cosmic, all-encompassing view, divided in space and tied together through telephone wire. 

Tiny Tragedy in Life (4’05 – 2017) / Yi-Yu Tsai (Taïwan)
A day begins. Life goes on in a repetitive, routine-like ritual, as usual, day by day. In such a regular and constant process, some unexpected accidents might break the stable routine and lead the ritual total out of track.