Vincent Pinckaers

The former French colonies in Central and West Africa have been independent since 1960, but most of these countries still use the currency of the former oppressor: the CFA franc. It was linked to the French franc when it was introduced, so the national bank in Paris controlled monetary policy. Now the currency has a fixed exchange rate with the euro. The link with the European currency strongly influences the monetary policy of CFA countries. And that means the value of the CFA franc is defined by political decisions taken elsewhere, rather than by the domestic economy.

오마르 블론딘 디옵의 이름은 세네갈에서는 처벌되지 않은 국가범죄와 연관되어 있다. 프랑스에서 그는 장 뤽 고다르의 정치적 극영화인 중국여인에 등장하는 마르크스주의 운동가로 기억된다. 오늘날 세네갈 다카르에서 그의 형제들과 친구들은 그를 기억하고 있으며, 중국-아프리카라는 불완전한 현재의 지형 속에서 현지 젊은이들이 각자의 운명을 걸고 있다.

This is the portrait of an industrial city with its collapses, mutations, landscapes and language. A film that features René Magritte, a camp of homeless people, key figures in urban revival, the inventor of the Big Bang, Les Zèbres (Royal Charleroi Sporting Club) , socialism, the mute astonishment of childhood…

This is de facto a film about a film, with the only difference being that the focus is exclusively on the extras. They are filmed while waiting to take their turn, while conversing with others, and thinking about their performances. Although they take their duties very seriously and long to be stars, for the filmmakers, they’re just people that can be coordinated as necessary, nothing more. This film, on the contrary, gives them full consideration, revealing their personalities, what they experience, and what they dream of. The footage comes from many different places where movies are made, involving extras from all different nationalities.

Literature and psychoanalysis are summoned here around a mythical figure of the intellectual, artistic and psychoanalytical history of pre-dictatorship Argentina: Oscar Masotta. Having introduced Lacan’s thought in Latin America as well as structuralism, having taken action in defense of Pop art, and having himself initiated legendary performances, Masotta is at the heart of that wonderful Fifties and Seventies effervescence. But for as distinct a character as this one, Dora Garcia neither films the biopic, nor does she merely deliver the servile reconstruction of an anthology of his « actions ». Better still, and through an impure mix of both, with other elements at the forefront, she proposes floating evocation, much like psychoanalytical listening.