The forbidden triptych: Religion, body and politics
featuring Sidney Grzclaczk
The forbidden triptych: Religion, body and politics. Moroccan cinema is currently experiencing a great growth because it wants quality and expresses more and more the plurality of visions in the country. He participates greatly in the democratic opening by exposing the different modes of reflection of the popular masses. Liberties are growing and Morocco too. Everyone comes together, questions and discusses the issues raised on the screen ...
The themes are often similar and what makes the difference is the form of their representations. Going to the movies was a family and cultural pleasure that played an important social role for the people ... Year after year, movie theaters lost their main image to become places of incongruous events. As intimate places, dark and hidden, they cover all forms of restrictions that are that people enjoy transgressing. In this project, our thinking focuses on cinema as a place.
Without denying his artistic contribution, we have made the choice of a different point of view, from the angle of prohibited triptych: religion, body and politics. We focused on showing the attitudes, behaviors and habits of the viewer. The actions that take place in and animate the movie theater itself. At the time we started working with "Mint", it seemed obvious to us to have to talk about Morocco and its societal configuration. The idea of our action is to evoke a general situation, while taking into account behaviors and individual reflections. Considering the human in a more encompassing way. The fact is there! Before our eyes that do not want to see, nor do not want to admit ...
We just bring a man's look at a contemporary situation, we are not in any way the judges or the denunciators of a system. The idea is to show the various secret activities practiced in Moroccan cinemas. Through special staging, this project attempts to establish, among other things, the relationship between transgression and freedoms, as well as to expose the current situation of the individual in his environment. "Irina" wants to be the metaphor of a society where freedoms are subject to conditions, where the facts and gestures are controlled, where the man, despite a clear evolution, can always escape only through the back door , the emergency one.
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