Ghost Hunting / Lov na Duhove

četrtek, 2. 8. / 19:00 / Ljudski dom – slovenska premiera / Slovenian premiere

Dokumentarni / Documentary
Palestina, Francija, Švica, Katar, Italija, 2017 (94’) / Palestine, France, Switzerland, Qatar, Italy, 2017 (94’)
Režija / Director: Raed Andoni
Scenarij / Screenplay: Raed Andoni
Igrajo / Stars: Ramzi Maqdisi, Mohammed Khattab, Raed Andoni
Fotografija / Director of Photography: Camille Cottagnoud
Jezik / Language: arabski, angleški / Arabic, English
Podnapisi / Subtitles: slovenski / Slovenian
Nagrade / Awards: nagrada Glasshütte Original Documentary na Mednarodnem Filmskem Festivalu v Berlinu 2017. / Glasshütte Original Documentary Award at Berlin International Film Festival 2017.

Nekaj Palestincev, pridržanih v izraelskem zaporu, deli svoje izkušnje s terapijo, s katero poskušajo zdraviti svoje travme. / Some Palestinians who were held in an Israeli detention center are assembled to re-enact their experience in an effort to heal.

Raed Andoni da v Ramallah oglas. Išče bivše sojetnike v centru za pridržanje Moskobiya v Jeruzalemu. V oglasu navede, naj imajo možje izkušnje kot obrtniki, arhitekti in igralci. Po iskanju igralcev, ki spominja na igro vlog, poskrbi za repliko sob za zasliševanje in celic, ki jih v merilu zgradijo v dvorani – pod budnim nadzorom bivših jetnikov in na podlagi njihovih spominov. V tem realističnem okolju možje eden za drugim poustvarjajo svoja zaslišanja, govorijo o podrobnosti v zaporu in izražajo ponižanje, ki so izkusili med zaporom. Z uporabo tehnik, ki spominja na tako imenovano ‘gledališče zatiranih,’ sodelujejo pri dramatizaciji izkušenj iz resničnega življenja. Njihova rekonstrukcija prikliče dolgo zatirana čustva in v ospredje pridejo travme. Sodelovanje pri filmu zahteva svoj davek pri the možeh – fizično in mentalno. Režiser se tudi pojavi pred kamero, ne ustvarja samo odraža pri svojih protagonistih. Sooča se s svojimi spomini na čas v Moskobiyi pred tridesetimi leti.

Director Raed Andoni places a newspaper advertisement in Ramallah. He is looking for former inmates of the Moskobiya interrogation centre in Jerusalem. In his ad he asks that the men should also have experience as craftsmen, architects or actors. After a casting process that almost feels like role play, he arranges for a replica of the centre’s interrogation rooms and cells to be built to scale inside a hall – under close supervision from the former inmates and based on their memories. In this realistic setting the men subsequently re-enact their interrogations, discuss details about the prison, and express the humiliation they experienced during their detention. Using techniques that are reminiscent of the so-called ‘theatre of the oppressed’ they work together to dramatise their real-life experiences. Their reconstruction brings long repressed emotions and undealt with trauma to the fore. Working on the film takes its toll on the men – both physically and mentally. The director also appears in front of the camera; not only is he creating a stage for his protagonists, he is also coming to terms with his own fragmented memories of imprisonment in Moskobiya thirty years previously.

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2.8 Četrtek
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