On the notion of the political in postmarxist theory.

Screenings

08.12.2011
Samuel Beckett's "Quad II" and "The Ghost Trio"
Repeating, exhausting

07.11.2010
Remembering Kronstadt
Maggots and Men

05.10.2010
Politics, poetics and popular education in Brazilian cinema
'Stronger are the powers of the people' III

04.10.2010
Politics, poetics and popular education in Brazilian cinema
'Stronger are the powers of the people' II

04.03.2010
Fassbinder's own private Nietzsche
Satan's brew

04.02.2010
A comme animal
Abécédaire

01.09.2009
Portray of a precarious survival
Screening Dardenne's Rosetta

09.04.2009
Screening of a film by Claire Denis
The Intruder

06.05.2008
The cool despair of young creatives. Discussion with the filmmaker S. Geene
After effect

06.03.2008
Screening + Discussion with the filmmaker Angela Melitopoulos
The cell - Toni Negri and the prison

04.03.2008
Happiness (1934) by Aleksandr Medvedkin + Cine-Train excerpts (Medvedkin and others)
The body of the worker as paradoxical machine and teaching aid

08.02.2008
Workers' autonomy in the Veneto in the 1960s and 70s
Porto Marghera: the last firebrands

05.02.2008
Politics of montage
Kuhle Wampe

06.12.2007
Video seminar with S. Dillemuth
A visual genealogy of bohemia

05.12.2007
Remembering Fassbinder
Politics of Bohemia

04.12.2007
Adam Curtis' documentary on consumerist subjectivity
The century of the self

30.06.2007
A selection of movies presented by Tsila Hassine
The Israeli-Palestinian conflict

30.05.2007
A movie by Peter Watkins
La Commune. Paris 1871 Part II

29.05.2007
A movie by Peter Watkins
La Commune. Paris 1871 Part I

08.03.2007
Winterbottom and Whitecross's image of exception
Road to Guantanamo

Politics, poetics and popular education in Brazilian cinema
'Stronger are the powers of the people' III

Screenings introduced by Rodrigo Nunes

Terra em transe (Land in anguish), Glauber Rocha, 1967
A Queda (The Fall), Ruy Guerra, 1976

Terra em transe (Land in anguish), Glauber Rocha, 1967
Part roman à clef about the Joao Goulart government and the 1964 military coup, part schematic description of the dynamics of the post-colonial world, part baroque allegory about the destiny of Latin America, part gauntlet thrown at the right and left of post-coup Brazil: one of Rocha’s most celebrated films, it finds the effects of his ‘epic-didactic’ cinema all the more effective because its target is much clearer. A whole generation at a crossroads appears in the vacillations of the main character, his multiple allegiances to social transformation and to his own class, to aesthetics and to politics, to utopia, the heat of the struggle, and his professional situation as a hired pen; the choice for armed struggle, which the film suggests in ambiguous fashion, was already brewing as it was produced. Nominated to the Palme d’Or at Cannes, best film at the Havana Film Festival.

A Queda (The Fall), Ruy Guerra, 1976
An accident at a construction site, resulting in one death, sets one worker off on a struggle for justice that exposes the mechanisms of exploitation and the class relations of a country that had undergone one decade of fast-paced ‘conservative modernisation’ at the hands of the military. As a sort of sequel to the classic The Guns (1964), following the fate of those characters as they move from enforcers of exploitation to exploited, it offers more than a snapshot of the period: the correspondent time lapses in fiction and reality capture the passage of a chunk of Brazilian history between the two films, and, therefore, also the transformations in cinematographic approaches to the social and political between the two moments. Equally daring in content and form, and in the originality of the adequacy of one to the other, it won the Silver Bear at Berlin.