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The third section of the program is intended to generate additional discussion by using eight to ten films from the Arsenal archive in order to take previously outlined questions relating to cinema in times of upheaval and the historical witness function of film further. Although the broad thematic context remains decolonialisation, it no longer necessarily forms the direct focus of attention. Every exploration of “Third Cinema” - a cinema that doesn’t merely show decolonialised realities but also explores how power relations can be “decolonialised” by cinematic means - shows that colonial violence necessarily implies visual violence, a violence of gazes, framings and stigmatization that cinema can both draw on or break with in equal measure.

LADONI (Artur Aristakisjan, USSR 1990)
In Kischinjow there is a beggar, who roams the streets all day and talks loud and clearly to his unborn son. The people listen to him. Twenty years ago the child was supposed to be born, but his bride had an abortion. [...] I shot the film between 1986 and 1990 and spend months on end with the beggars. They were willing to expose themselves for the camera. One of them told me, he would even be willing to kill himself in front of the camera, so that I could film his death. (Artur Aristakisjan)

SADY SKORPIONA (The Scorpions's Gardens, Oleg Kovalov, USSR 1991)
From fragments of spy movies, medical, musical and propaganda movies, we tried to create a surrealist phantasy on the Sowjet thaw period of the 1950s. (Oleg Kowalow)

LE FRANC (Djibril Diop Mambety, Senegal 1994)  
What does a worried musician dream of if not his instrument? Marigo dreams of his congoma, which was confiscated by the evil landlady because of unpaid rent. But the cogoma is his life. (Djibril Diop Mambety)

MABABANGONG BANGUNGOT (The Perfumed Nightmare, Kidlat Tahimik, Philippines 1977)
Far beyond, near the Amok-Mountains, in the village of Balian, lives Kidlat Tahimik and dreams of the wide world. Only an old stone bridge connects Kidlat’s bamboo hut village to civilization, but he is proud and confident: "I pick my vehicle and I can cross any bridge". And so he practices his departure, first with toy cars of different sizes, then with his brightly colored "Jeepney" a customized US-military vehicle, which Kidlat uses to transport people and products.

WEST INDIES (Med Hondo, France 1979) tells the story of an island in the Caribbean, the history of the people of the Antilles: Just yesterday slavery ruled: the strongest men and women are taken from the African continent by the millions, forced onto slave ships and sold in public squares.

Biography of Tobias Hering