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Recalling the universal declaration of human rights places the emphasis on the path taken, on the courage that men and women have put in place to defend those rights that are taken for granted. Spike Lee, with his film containing a strong civil inspiration, reminds us that yesterday just as today, society (and not only American society) is in a precarious balance.
The journey is the first and obvious way to respond to requests for help. Constanza Quatriglio follows the path of Ismail who returns from Rome to his Hazara community in search of his mother. Ghassan Halwani's journey takes place in Lebanon, during a time of perennial war, digging into the memory buried by layers of posters from which finally emerge the faces of men and women who have disappeared (Tirss, rihlat alsoo’oud ila almar’i – Erased, Ascent of the Invisible).
He has the smiling face of an everlasting boy and a powerful voice that doesn't allow the protagonist of Yolande Zauberman's film M to mislead. His word takes us into the Israeli night, where religion often conceals private violence.
Today's films challenge the linearity of time and the uniqueness of cinematographic realism. Glaubenberg appears like a mythical tale, where the forbidden becomes a springboard for desire. The waves of the past instead weave loving plots in Tegnap (Hier) and push its protagonist to lose himself between the desert and poetry. Also in Dead Horse Nebula time is an illusion and key moments grant the embrace of a man’s life.
It is not an accessory component nor a sequence of names obliged by habits: the titles of a film are always an organic sequence of everything they fit into. Or they can become a brilliant introduction, a film within the film. When it comes to creating them, no other name comes to mind but the experimenter’s Kyle Cooper, recipient of this year's Vision Award.