By Maria LALOU


Art - Culture - Completed 2019

A camera infinitely moves in parallel to a table where five dressed in black are situated around. It faces always the back of one; the director herself. Her long monologue leads to live discourse between the five shaping a manifestation of concerns and suggestions on resisting algorithmic governance

& Awards

Thessaloniki IFF 2019
Greek Films
    • Year of production
    • 2019
    • Genres
    • Art - Culture, First film, Experimental
    • Countries
    • Languages
    • Budget
    • 0 - 0.3 M$
    • Duration
    • 90 mn
    • Director(s)
    • Maria LALOU
    • Writer(s)
    • Maria LALOU
    • Synopsis
    • Questioning how can an image be infinite, a live dialogue based on Gorgias of Plato is recorded as one long shot. The talk it is not pre-scripted yet moderated and the camera is infinitely moving parallel to the table on a camera dolly. The director is on play herself yet transcoded to a distant robotic entity. She is the one questioning and moderating the discussion, placing her own statement via the initial question on the table and by moderating. Lalou has been always present in her independent works under a white coat, while this is the first time she appears dressed in black and never giving away her facial expressions to the camera.

      With references to how our image production, circulation of information and virtual presence is all on the hands of algorithmic governance, I decided to ask four close scholars to come to a dialogue with me on the status of an image in contemporary times and to comment on my take on its undefined borders. I registered ‘The Dialogue’ by a camera on a dolly, testing its abilities towards the perception of the viewer, its time and staging. While withdrawing slowly myself from the position of control, I am turning my back to the lens and its camera operator having instructed him through a series of drawings and by placing marks on the role of the camera and its role in ‘The Dialogue’. Choices as my virtual entity ‘in presence’ as well as the long monologue at the first part of ‘The Dialogue’ are pointing to a threshold of presence in future society and its relation to a dialogic telematic society.‘The Dialogue’ script and content has all come through this one off registration in a live discourse together with: Knut Åsdam: filmmaker, installation artist, sculptor, photographer, and writer exploring contemporary society and its psychological and material effects Andrew Fremont-Smith: artist and theorist, working with time based media and performance forms, leading workshops on Lacan theory and structuralism in radical political theory Jennifer Uleman: associate professor of Philosophy at Purchase College; her thought and writing are grounded in German Idealism. Andreas Wimmer: Lieber Professor of Sociology and Political Philosophy at Columbia University, asks how states are built and nations formed, how individuals draw ethnic and racial boundaries, and when inequality, conflicts, or armed violence may result from both.

      What is it that we experience as cinema today in our surveilled everydayness? How does the major history of cinema reflect in the future of cinematic tools whilst those might be the tools of freedom from the algorithmic governance that we live in? Yet working for over 15 years as a visual artist with major part of my tools the registration of cameras, my first filmic attempt wishes to lead back to significant tools of what we experience as film medium of Harun Farocki's films, Mohsen Makhmalbaf’s school and Jean Luc Godard's continuous in genius work.