A generous and lyrical continuation of Lebanese artist Marwa Arsanios’ interest in the ties between ecology, feminism, and collective organization, this documentary showcases the radical politics of a Lebanese farming cooperative and the citizens of Jinwar, a women-only village in the north of Syria.
Philosopher Slavoj Žižek and filmmaker Sophie Fiennes reunites for this follow-up to their hit The Pervert's Guide to Cinema, using their interpretation of moving pictures to present a compelling cinematic journey into the heart of ideology – the dreams that shape our collective beliefs and practices.
The enclosed, private space a man occupies is penetrated only by images brought from across distances by the internet. Space, distance and memory collapse in this haunting meditation on absence and virtual presence in the 21st century.
Marwa Arsanios’s new film examines the structures of self-governance and knowledge production fostered by the Kurdish autonomous women’s movement. She asks: what kinds of democracies are enabled without a state, and what kind of ecology is produced under the conditions of war? A propositional portrait of guerrilla ethics, Who is afraid of ideology? Part I disassembles the traditional documentary format, not only to show the contradictions inherent in such a portrayal, but also to doubt the regime of transparency.
The Kurdish Women’s Liberation Movement has been disrupting gender and ecological hierarchies across the Middle East. In this stimulating, bifurcated film, shot among the mountains of Kurdistan, a village for women in northern Syria, and a farming community in Lebanon’s Beqaa Valley, Marwa Arsanios uses an array of striking formal strategies––including the frequent disassociation of sound and image––to track the movement’s influence and the efforts of autonomous women’s groups to reclaim land amidst the Rojava revolution.
Ivan Komendantov is only 16 years old. But he is already the secretary for ideology of the Stalingrad district committee of the Komsomol of Moscow. Vanya wants to quickly become an adult, so he enthusiastically takes up any business: whether it be the rise of the world economy or a special task to seduce a girl.
A research-based essay film, but also a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states.
Alexander Kluge's News from Ideological Antiquity begins with Russian filmmaker Sergei Eisenstein's ambitious but unrealized plan to combine Karl Marx's Capital and James Joyce's Ulysses. For over nine hours, the film expands in concentric circles as Kluge, his guests, interlocutors and monologists make associative links on a range of topics that starts from a filmic discussion of Eisenstein's notes.