Screening

Capitalism

Sabrina HARRI throws herself, literally, at advertising posters portraying bodies in urban public places. Mercedes Molla MARFIL acts on the frustration felt by a consumer in a supermarket, by grabbing products eyed by other shoppers, just as they are trying to take the products themselves. Jason WORKMAN improvises a rhythmic choreography in the business district of Greensboro, North Carolina. Wojciech GILEWICZ develops a strategy for urban camouflage, redesigning furniture redessine le mobilier en trompe d’oeil. as an optical illusion. Arne BUNK films the city of Wolfsburg, historical center for Wolkswagen automobile production, molded by large-scale architectural projects since the 20’s, imperatively marking it as a city for production. Isabelle HAYEUR films the DIX30 district in Brossard, the biggest “lifestyle center” in Canada, and confronts us with the loss of our physical orientation at the profit of cultural stereotypes, which have become universal with the help of globalization. Twenty years after the destruction of the wall, Reynold REYNOLDS shows us the demolition of the “Palast der Republik”, the palace of the Republic of former East Germany built in Berlin in 1976. Redmond ENTWISTLE proposes three previews of films yet to be adapted from classic 20th century novels about life in Belfast, focusing on the city’s project to adapt to the new economy with a film industry and new technology. Anibal CATALAN films the building of useless construction sites, in an enormous metropole, a metaphor for the ridiculous nature of symbols of power. Le collectif DEMOCRACIA choreographs and stirs up a crowd of supporters in a stadium during a football game. The representation and the mise en scene of the stirred up congregation takes on a new meaning, that of a force which is demanding, poetic and absurd. Arjen DE LEEUW films two men in a control room keeping watch on a volcano with the help of their screens and cursors, giving us the impression that they can control and change the forces of nature.