Are there limits to solidarity? Are the concepts of “solidarity” and “empathy” beautiful but idealized ideas? What narrative and representational forms can be used to generate solidarity with a cause that is distanced by time and space from us, from the here and now? In this program, consisting of two films and a performance in the cinema space, the boundaries of solidarity – between lovers, companions and fellow fighters, but also between spectators and stage actor – are traced. (Azin Feizabadi)
A stage unfolds and a love song is sung displaced from its owner. INSERT SONG is a video-essay meditating on music and semiotics in relation to love, and how love declarations are falling victim to the image.… >>>
Asma and Sarah, two women originally from the Levant, find themselves working in the same restaurant in the city of Lyon in France. Both bear the weight of a home they were forced to leave behind. Initially wary of each other, they gradually discover a common thread that binds them – one that dates back to when the Silk Road connected Lyon to their home countries. In the midst of forced migrations, can we move past our animosity to find solace in each other?… >>>
For Maryam Tafakory, a film can have many lives and doesn’t need to be bound to a single medium or one mode of projection. A film can be fluid and take up many forms, based on its time and place of presentation. For Kassel Dokfest and the BALi Kino, Maryam Tafakory develops another iterating of her film MAST-DEL (17 Min., 2023), in which, in a performative reading, she tells us a story about forbidden bodies and desires inside and outside post-revolution Iranian cinema:
Two women lie together in bed. As the wind bashes against the window, one recalls a past date to the movie theatre. The narrated scene cannot be conveyed through images. Layers of found and original footage are superimposed to fill in some of the cracks, the deletions, the limits of representation – a love song that would never pass through the censors.