Cinamscope about “Le Fort des fous”

Le fort des fous ultimately finds Mari confronting history in the only logical way possible, from multiple vantages and with no recourse to the rules of storytelling. One gets the sense that Artaud and Montaigne would approve.

Jordan Cronk in Cinemascope about “Le Fort des Fous” >>>

Beyond the One at TIFF !

We are very happy and excited to announce the world premiere of Anna Marziano’s “Beyond the One” at TIFF Wavelength !

“Other highlights include the World Premiere of Anna Marziano’s deeply moving and mysterious essay-film Beyond The One (Al di là dell’uno), as well as new films by master filmmakers Bruno Dumont and Denis Côté





Frankfurter Rundschau zu Le Fort des Fous

In den letzten Jahren beobachtet man eine Annäherung an Filmemacher aus der bildenden Kunst; gleich drei Filminstallationen der Documenta kann man hier in aller Ruhe in ihren Kinoversionen erleben. Besonders eindrucksvoll ist dabei das 140-minütige Werk „Le Fort des fous“ („Madmen’s Fort“) der Algerierin Narimane Mari. Auf der Basis frühkolonialer Forschungsberichte führt die Filmemacherin ins Algerien des Jahres 1860. Die Dominanz-Phantasien der Eroberer, aber auch Ausbruchsutopien inspirieren zu mitunter spielerischen Choreographien, fotografiert als große Kinobilder. Und ein offenes Spiel mit Laiendarstellern erinnert an einen weiteren Ehrengast dieses geschichtsbewussten Festivals: Altmeister Jean-Marie Straub (84), der einen Goldenen Leoparden für sein Lebenswerk erhält

Carlo Chatrian about Le Fort des Fous

Locarno’s festival director Carlo Chatrian about Le Fort des Fous:

Le Fort des fous by Narimane Mari is one of the most complex and fascinating films seen in recent years, one which cannot be described by any of the usual catch-all formulas. On the contrary, it tends to broaden the field of its investigation, sequence by sequence, leaving viewers to find their own pathway through the materials, suggestions and revelations that it contains… >>>

C& about Le Fort des Fous at documenta 14

C& // Critique documenta 14  Another vital work in this edition is Le Fort des fous by Narimane Mari. By visualizing ellipses and metaphors, the film reflects on the displacement and re-appropriation of the telling of history and re-activates memories as resistance strategies… Le fort des fous retraces the family tree of the capitalist system of exploitation and oppression and locates its sources in the history of imperial, Eurocentric colonialism. The film reminds us that things have not changed so drastically, that these patterns are still present in new economic and political relationships. The systems of cultural domination remain a form of neocolonialism. In the words of the militant, “Civilization, a lot of the time, means death.” The challenge is to construct a body politic amidst our irreconcilable post-colonial differences and also to view history through the lens of its reception and its re-appropriation by way of injured or forgotten memories.

Slant Magazine about “From a Year of Non-Events”

“…the wonderful tactility of these snippets of life is further heightened by the grain of the film stock used to shoot them, which moves supplely between 8 and 16mm images, flecked with stretches of black leader. The intuitive, deeply sensual editing is anyway a marvel throughout, with many of the soundless passages showing the surrounding countryside approaching true reverie…”

—>  review of Visions du Réel festival by James Latimer in  Slant Magazine!