From ‘orwell 2+2 = 5’ to ‘Frankenstein’: Tyf movies about power, creation and survival is a warning
In other words, this film forces us – in a gruesome, uncomfortable way – with what we prefer to face: that a writer, equal pieces of truth and storytelling can imagine a future that now feels like us. Our own photos not only are the surprising warnings of Orwell about power, but from our nightmare we still insist that it is just the story.
Pack adds: “They’re afraid of you with information, with lies, action, arresting people in the streets.” “They are frightened, and you know, it is doing. It’s an incredible attack.”
Put your soul on your hand and walk
Where Orwell: 2+2 = 5 Warns us about indifference to authoritarianism, Persian Put your soul on your hand and walk It forces us to deal with the daily realities of military life -control – especially in Gaza.
In the early 2024, Iranian -born white manager, white Persian, arrived in Cairo, the notebooks in the hand only to find the Gaza gates that was closed to him. A Palestinian refugee shows that he calls Fatima Hasona, a 24 -year -old photographer in Gaza. Farsi discovered the only window he could open through his camera and sound.
“I have never had such a deep relationship with someone I have never met … This feeling of blocking in a country where you can’t get out of it,” says Farsi. “Then this is just the magic of the collision, the human alchemy, and his smile was contagious.”
Put your soul During the brutal military siege, it plays more than personal life history. The war and the continuation of a single life are the same. This expresses genocide, and all that makes it possible always searches for one thing: clearing. But Hassona’s smile, completely through video calls and broken connections over 112 minutes, makes it impossible to make it impossible.
Hassona and Farsi inaugural photos that anchor themselves from this perspective, which not only feel personal but also socially. Dream negotiations, travel to fashion shows, his hopes for the end of the war, while Persian occasionally cuts off and museums to Hassona about the wanders of his home cat.
Through this film, Hassona insists not only as a photographer but as a witness to life. He reads the world in small and stubborn eyes of beauty, writes and frames the world. Israel weighs, but in his view, and in his lens, you feel not as a hero but as a relentless survival.
Their conversations are flickering inside and outside. Farsi, as part of the film’s life, embraced these bugs and allowed the audience to feel frustrated and strange to Gaza. “By keeping these pauses and disconnecting, I convey something very strange about how to connect to Gaza because Gaza is not accessible, but it is nevertheless. It is like another planet.”
Making a film for Farsi was very similar to life in two worlds at the same time: Hassona’s recording from afar, certainly, but also as a friend, witness and humans. “We were both filming and filming,” he said. “I had to stay natural, but I was somehow controlled as a filmmaker. Because, of course, I have to be able to respond in the right way.”
