Editor
Through the diary entries of the film's main protagonist K., we learn about her return from post-revolutionary Russia to her home in Greater Syria, in which, after the collapse of the Ottoman Empire, individual communities are trying to find a way to autonomy. Thanks to the juxtaposition with the Russian past, presented through shots from Soviet film classics such as Esfir Shub's Spain or Kinoglaz by Dziga Vertov, and the Syrian present, portrayed through various mobile phone footage, the director draws parallels between two incompatible realities and creates a multimedia essay on neo-colonialism and independence.
Producer
Through the diary entries of the film's main protagonist K., we learn about her return from post-revolutionary Russia to her home in Greater Syria, in which, after the collapse of the Ottoman Empire, individual communities are trying to find a way to autonomy. Thanks to the juxtaposition with the Russian past, presented through shots from Soviet film classics such as Esfir Shub's Spain or Kinoglaz by Dziga Vertov, and the Syrian present, portrayed through various mobile phone footage, the director draws parallels between two incompatible realities and creates a multimedia essay on neo-colonialism and independence.
Director
Through the diary entries of the film's main protagonist K., we learn about her return from post-revolutionary Russia to her home in Greater Syria, in which, after the collapse of the Ottoman Empire, individual communities are trying to find a way to autonomy. Thanks to the juxtaposition with the Russian past, presented through shots from Soviet film classics such as Esfir Shub's Spain or Kinoglaz by Dziga Vertov, and the Syrian present, portrayed through various mobile phone footage, the director draws parallels between two incompatible realities and creates a multimedia essay on neo-colonialism and independence.
Director
Nine men gather for a workshop on a rooftop. There they perform confrontations of everyday life, with the police and at the workplace. In the process, the actors engage a space between the theatrical and the real. This is not a film about workers. The factory is a microcosm, a miniature Egypt.
Producer
Nine men gather for a workshop on a rooftop. There they perform confrontations of everyday life, with the police and at the workplace. In the process, the actors engage a space between the theatrical and the real. This is not a film about workers. The factory is a microcosm, a miniature Egypt.
