Amira chebli biography examples
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MEDFILM FESTIVAL 2023: ALL THE WINNERS
UNIVERSITY JURIES
The University Jury made up of 40 students from the Universities of Rome: La Sapienza, Tor Vergata, UNINT-University of International Studies of Rome, UNIMED-Union of Mediterranean Universities, Luiss Business School, John Cabot University,has thus decreed for the Feature spelfilm Section in Competition:
❯ BEST FEATURE bio AWARD:
DANCING ON THE EDGE OF A VOLCANO bygd CYRIL ARIS (Lebanon, 2023, 87′)
Attempt at reality through fiction, relying on impeccable direction and relentless pace. Cyril Aris shows how conscious judgement and analysis of the power and meaning of art can arise from crisis. Sincere, fictional and archival images intersect, restoring dignity and hope to the Lebanese people. It is the real-time documentation of the work of a spelfilm crew, who through their footage, as if they were thoughts, revolutionised the way of observing a tragic reality, drawing from it inspiration and the constant need for rebirt
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Interviews
The idea of recording an interview started when Adham Hafez and I found ourselves in the same room with the hopes of continuing a closer discussion on his more recent works within the Adham Hafez Company and the HaRaKa platform. The interview did not happen then, nor did it take place the next time we both found ourselves in the same city. As is common with my interactions and recent collaboration with Adham, we start with the work and get lost in other places and times, often discussing our personal stories of work and life, all with the consuming energy and humour that he invites.
In December, with Adham in Cairo and I back in Los Angeles, we began an email conversation that led to this text. Once again, this too was interrupted many times as Adham found himself working on a travelling performance in Cairo at a time when censorship, in the form of formidable raids, was taking place at various arts and cultural venues throughout the city. Adham wrote to me sayi
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2011 was ten years ago. It is hard to believe that ten years have passed since the moment popular uprisings shook Arab cities with waves of dissent demanding political change. Some of the uprisings continued and transformed into a military coup, a war, a refugee crisis, or second waves of massive uprisings and protests. During this decade of political hope and turmoil, the uprisings signaled multiple problems, and called for freedom, and social and economic justice. Yet, they equally signaled a long term problem, a problem of representation. This problem of representation manifested within two regimes of power, the political and the aesthetic. Governance and performance were terrains of conflict and of embattlement, between the sovereign and the subject in the Arab world. Ngugi Wa Thiong’o writes in ‘Enactments of Power: The Politics of Performance Space’ that:
“The struggle between the arts and the state can best be seen in performance in general an