Paris, April 16, 2011 Good afternoon / evening
Dear friends, dear friends,
independent reasons I will make no Tonight may be physically here with you, to receive the awards that have been attributed to my film qu'ils reposent in Revolt (Des figures de guerre) . This is my first movie (the others have been carried out in parallel), on which work from my early film five years ago, and in which all my energy, my attention has been concentrated.
This focuses on describing the consequences of current immigration policies on the key people involved: the migrants. Policies that are primarily experimental policies, as are the devices that translate and then likely go to great Most of them, courts and justice of emergency controls, harassment and police violence ...
The action takes place in Calais, a town whose name is known across the borders. A city like a gray area, a gap, a space that does not distinguish between exception and rule. Here individuals are treated as criminals, are plundered, "stripped" of their most basic rights that make them subjects of law, and reduced to the status of experimental bodies of "pure substances" or "bare life."
exception to these areas should respond by creating the real state of exception situations and space-time singular which the physical and psychological beings and things are restored to itself. An individual, whoever he is, is profoundly irreducible can not be reduced to social and racial representations that a society can have on him. The film is a medium whose deep resources (game over time and space) can lay bare the mechanisms at work in the dominant representations and by themselves, initiate a process of emancipation, a revolutionary process in the deep sense of the term: the ability , at all times, you can change the course of things. The space
prearranged, disciplined, opposes moving space characterized by other distribution: distribution "nomadic" without fences or steps, in which men are distributed in an open, unlimited, or at least without precise limits. This movement is defined as a liberation movement, continuous, always reset, and goes beyond permanent structures and frameworks of thought established. What counts is not the allocation of fixed perimeter, but the movement and relationships (discordant) between people and things. The border becomes brittle, passage, gap between two spaces and the territory is inseparable from what exceeds it, the relationship with its own outside. Thresholds to replace banks and borders and pens. The space no longer is homogeneous, but heterogeneous and multiple, and taken away from the crowd a bio-political representation, disciplinary, social body mass ... So the issue is not so oriented and positioned, but rather to meet people.
A reduction of the worlds one, authoritarian vision of the dominant political power, the film proposes a process of gearing in the world.
I sincerely thank the Bafici, its director, its developers, the whole team, who had the kindness, brotherhood and politics, to select and schedule my movie in international competition. It is extremely important, maybe today more than ever that this kind of space may exist and to see, read and listen to thoughts, words, images and minority views.
would like to sincerely thank the members of the two jurors who decided to agree to these awards to my film. With these gestures, give a space of visibility extremely important to a film regarded as "difficult", sometimes "annoying", both the subject and the film leguaje employee. It is also a reward to a company that was extremely difficult to carry out material point of view, economic and political. And more fundamentally, I see here an incentive and help extremely important to my early films, and films come.
I am very happy to receive these very important awards in Argentina, among other reasons because this movie no doubt end their tour on the festival here in Buenos Aires. The first screening took place in France in a major festival, the Fid Marseille, with the first version that I considered not quite finished yet. The last one took place here, in that other big festival Bafici, with its final version.
I'm so happy again, because I have a very unique relationship with this country, and it awakens in me memories very deep: in fact, during my childhood and adolescence as the first political posturing, I have participated in numerous meetings and parties in support of opponents of the dictatorship in Argentina. Argentina was a country far away and yet extremely close. In space and time.
Finally, and you want to excuse me briefly say a few words seemingly simple and trivial, perhaps trivial, but they are for me very important. I would like to warmly welcome all the others present in the Bafici filmmakers in competition or not. The fact that films are not rewarded does not mean at all that are smaller and less interesting, important or significant.
I also direct and trans-historical fraternal greetings to a filmmaker well known in Argentina, but that is just beginning to have a reputation in France. A filmmaker who recently discovered in the French Film and whose work I deeply interested and amazed. A filmmaker with great integrity and morality, disappeared by the military junta. I mean Raymundo Gleyzer.
Finally, I speak to this young, this young woman, who does not know anyone who feels lost, he does not know where to go, you can not find their place in society, which has the feeling of starting from zero and be returned to that place tirelessly apparently empty. Who is 18 years in the dawn of life, and yet already has the feeling of being an elder. Because anger choked him, because he lives in rebellion and turned against him. Let me turn that boy, that girl, who thinks that certain worlds are barred him because he is an inmate of a class necessarily disadvantaged. In this young, this young woman who dreams of making movies for example, to make films, but think will never make it because it comes from a medium too modest cultural barriers that stop and symbolic, to him, it would tell you not to lose hope, do not leave, stay tuned to your desires. These desires are oceans of fire capable of destroying the pillars of heaven, myths, dominant and stigmatizing representations also able to give shelter to the unknown, the impossible. A he, she, I say that not despair, not abandoned, and to fight. Who fights for what he believes. That fight both for oneself, for others. Facing
forbidden worlds can only be hidden paths and foreigners take "only chapter of the forks is open to hope," said Auguste Blanqui, a great nineteenth-century French revolutionary. Roads
friends, as one may have foreign friends.
I thank you for your hospitality and for your attention.
soon return to Argentina. Sylvain
George
Charter of the French director Sylvain George, who won the top prize in international competition and FIPRESCI Award during the recent edition of BAFICI [13], for his haughtiness documentary qu'ils reposent in révolte (Les figures de guerre) , which was read during the awards ceremony on Saturday 16 April. A text so lucid, humane and deeply political. To read and reread, to agree or argue, but should not be overlooked. If the text you found interesting, then your movie is mandatory viewing.
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