Movie theater
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Filmed diary, documentary elegy, performance-investigation… While everything is going badly, the films of this 35th edition of the Marseille festival have placed memory and human connection at the center.
Does it work, in this state, to still go to the movies? We want to believe that yes, that it resists, that culture and its objects are at the forefront of what remains of antifascism here and there, and doubtless that they are there, seek to be there, will be there, we hope, when necessary. Nevertheless, seeing films at a film festival, the audacious and beloved FID Marseille, in the few days preceding the first round of elections placing the extreme right on the threshold of power, promised to be a strange experience. What guides cinema is its desire to be at the right height, at the height of the situation. It is its policy of heights, above all those at which it places its cameras and microphones. But when the situation worsens, becomes poisonous, threatens to knock us down, what can films do to help us get back on our feet? Warn us? Give us some leads, to hold on? Or change our ideas (when they really need to change, to transform themselves in the face of circumstances, of danger)? In a word, give us strength: not only to describe the forces present, but to produce them, to free them.
