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as if some buried slave wanted to speak again

Focus #7

Tue 13 October 202013.10.20
18H30—20H15
2 rue du Cinéma
75001 Paris
Fee
Une séance : 7€
Deux séances : 10€
Attention, une fois la séance commencée, il ne sera plus possible d’y entrer.

Programmed and presented by Maxime Jean-Baptiste

As if voices, buried there, beaten, their breath smothered, still emerged, vomiting everything they had been inflicted with, and we will listen to them. The selected films, made by and from the bodies of the African-American, Caribbean and Guyanese communities, are like shreds, shouts, songs, snaps, hin hin, mmm mmm, brother to brother brother to brother, tongues that loosen, and escape, ceaselessly, chapped! from their master’s supervision.

In collaboration with 100% DOC

Programmation

Nou voix
Maxime Jean-Baptiste

Guyane/France
2018
Numérique
14'25

Vole, vole tristesse
Miryam Charles

Canada/Haïti
2015
Numérique
6'

Black Bus Stop
Claudrena N. Harold et Kevin Jerome Everson

États-Unis
2019
Numérique
9'

Tongues Untied
Marlon Riggs

États-Unis
1989
Vidéo numérisée
55'

As if voices, buried there, beaten, their breath smothered, still emerged, vomiting everything they had been inflicted with, and we will listen to them. The selected films, made by and from the bodies of the African-American, Caribbean and Guyanese communities, are like shreds, shouts, songs, snaps, hin hin, mmm mmm, brother to brother brother to brother, tongues that loosen, and escape, ceaselessly, chapped! from their master’s supervision.

In collaboration with 100% DOC

1

Collected Essays: Notes of a Native Son / Nobody Knows My Name /
The Fire Next Time / No Name in the Street / The Devil Finds Work / Other Essays
, by James Baldwin, edited by Toni Morrisson, 1998

2

Listening to the land, Martin Carter, from The hill of fire glows red, 1951

Biography

Maxime Jean-Baptiste (1993° FR) est un cinéaste basé à Bruxelles et Paris. Ayant vécu dans le contexte de la diaspora Guyano-Antillaise en France, d’une mère française et d’un père guyanais, son travail en tant qu’artiste se perçoit comme une exploration de la complexité de l’histoire coloniale occidentale en détectant la survivance de traumas du passé dans le présent. Son travail audiovisuel et performatif se focalise sur la forme du reenactement afin de concevoir la potentialité d’une mémoire vivante et oralisée.