Guest response

QUEER REFUGIUM AND RESISTANCE AMIDST FASCIST STATES: DANIEL ZACARIOTTI INTERVIEWS GIL BARONI ON CASA IZABEL

Producer and director Gil Baroni gained widespread recognition in 2019 with his third feature film, Alice Júnior, a coming-of-age story about a trans girl preparing for her first kiss in a conservative setting. The film premiered in 2019 as part of the Generation section of the 70th Berlin International Film Festival and won several awards at major Brazilian festivals, including the Felix Award for best national film at the Rio Film Festival and four awards at the Brasília Film Festival. Following Alice Júnior, Baroni continued to focus on queer and dissident narratives, with his latest work, Casa Izabel. Baroni's fourth feature film, which was shot in 2019 and released in 2022, moves away from the upbeat tone of Alice Júnior to explore a more intersectional critique of Brazil's past.

Set in Brazil in the early 1970s, during the military dictatorship, Casa Izabel depicts a group of men who gather annually, away from society, to cross-dress in a Casa Grande (the term used for the grand houses of slavers in colonial Brazil, as opposed to the Senzalas where the enslaved lived). By encapsulating the possibility of queer existence during a repressive government that enforced the erasure of deviant sexualities and genders, the film presents a contemporary intersectional reading of queerness, race, and class – balancing the film’s 1970s setting with the context of its production and distribution under Bolsonaro’s government.

To what extent was Casa Izabel influenced by the book and documentary Casa Susanna?

Casa Izabel was initially the idea of the actress who plays Dália in the film, Laura Haddad. Laura approached Diana, the film’s distributor, and said, “Look, I have this book here, Casa Susanna; it's a book of photographs.” She wanted to bring the concept of a refuge, a retreat for cross-dressers, to Brazil. Diana then got in touch with me, and when she showed me the photos, I immediately said, “I'm interested.” We then brought in Luiz Bertazzo, our scriptwriter, and began a creative process that gradually detached itself from Casa Susanna and became Casa Izabel. I say “detached” because, at the time, we didn’t know who the people in the book were – it was simply an enigmatic collection of photographs.

A book that, at first glance, appeared to be about men who practised cross-dressing, but as the documentary later revealed, it was not only about cross-dressing men but also about the trans women who attended the retreat. Casa Izabel, unlike Casa Susanna, doesn’t focus on trans women but rather on cross-dressing. Our challenge was to develop a script based on these photos and a cast Laura had already suggested. From there, we decided the film had to be set during the dictatorship, reflecting a Brazil under a military coup and the rule of AI-5, yet one that had just won the World Cup. [Institutional Act Number Five, commonly known as AI-5, was the fifth of seventeen extra-legal Institutional Acts issued by the military government in the years following the 1964 Brazilian coup d'état.] This context added depth to our narrative: what if some of these men were in the military and attended this secluded retreat to live out their fantasies? What if, amongst these white men, there was a black character? And what if this house was a former slave house in southern Brazil? The house itself dates back to the period of slavery, located in a region known as ‘Brazilian Europe’. Casa Izabel is an original story created by Luiz Bertazzo, deeply connected to our present and our past.

As you mentioned, the film portrays a highly intersectional reading of Brazil and its era – particularly intertwining queerness and race through the character Leila. Could you elaborate on why this character is present in Casa Izabel?

I see Leila as the protagonist. Leila has a marker that cannot be hidden: her skin colour. She is already excluded from the possibility of escaping into the fantasy that the other characters indulge in when they come to this house to escape their lives and practise cross-dressing. Leila brings discomfort to these characters, who seek to live in a fantasy world within this house. Leila is a boy under the care of his adoptive white mother, who, in the film’s setting, is fated to serve Izabel, the house owner. But Leila subverts this structure. She subverts this logic. She uses debauchery to expose the farce of the other characters, who imagine themselves as actresses and writers. She mocks a structure that is destined to end, a structure that is about to collapse with the end of the dictatorship. It is a structure that will soon open the door to a more racially literate and activist Brazil.

Thus, Leila represents the complexities of racial struggle within Casa Izabel. She embodies the rupture of white hegemony, of a master-servant dynamic. Leila also signifies the end of this house. In keeping with the film's narrative, which unfolds over the course of a day and ends with the house in flames, Leila questions the house’s inability to evolve, despite having had its glory days. For me, this body, this character, is a challenge in the sense that she is always mocking and aware of being an uncomfortable presence. Leila shows that this house is not inviolable, as an undercover government agent will later confirm in the film. Leila breaks the sanitised view of white private property as something sacrosanct. The house, initially perceived as a place of refuge and safety, reveals its flaws and corruption as Leila charts her course through it. It is a house that shelters military officers. It is a slave house. It is a house full of murderers. Leila broadens the conversation around Casa Izabel: it is not just a film about cross-dressing, but about race, affection, and resistance – a film that balances vulnerability and strength.

Although set during the dictatorship, Casa Izabel was filmed at the start of Bolsonaro’s administration in 2019 and premiered at the end of his government in 2022. How does the film reflect those times?

Casa Izabel undoubtedly interrogates both the period in which its characters exist and the time in which the film is being released. We must revisit the far right and Brazilian fascism because they are still very much part of our daily lives. Bolsonaro’s administration was a form of fascism, though not experienced in the same way as traditional fascism or as it was known during the dictatorship. It was a complete corruption of institutions, disguised as a defence of the family, good morals, and Christian values. It appropriated arguments that were dear to society and turned them into instruments to promote violent ideals. Casa Izabel questions this argument through three elements central to society: the territory, the house, and the body. We are dealing with a territory under military rule, a house with slaveholding roots, and queer and black bodies. In other words, we are centring dissident bodies in the narrative to challenge fascist values. Casa Izabel becomes an outcry, a return to a violent past in an attempt to understand a repressive present. The idea was conceived before Bolsonaro’s government, filmed during it, and released at its end.

So, the film is not just an attempt to understand the past but to position itself in an increasingly uncertain present. Moreover, through the house’s space, we offer a critique of Brazil’s distant yet still present past: the slave-owning roots of colonial Brazil. This is why it was crucial for us to position Leila as the protagonist and the only black character, the one who ignites the fire that burns the house at the end. This past must be destroyed; its roots must cease to exist entirely. There can be no room for these values in contemporary Brazil. This rupture must be decisive and everlasting. The central message of the film is precisely this: resilient bodies, which even today suffer oppression, take into their own hands the means to destroy those who ostracise them.

How have the critics and audience perceived the film?

The film has had an exciting run at festivals. In its debut at CINE PE, one of the most important festivals in Brazil, it won five awards, including Best Film. Overall, the reactions have often been dichotomous. Some use great superlatives that impress me, while others say the film tries to tackle too many themes and becomes confusing. However, I see the value in these layers; after all, they reflect our society. We've had incredible screenings, such as the opening session of the 12º Olhar de Cinema – Festival Internacional de Cinema de Curitiba, at the Ópera de Arame in Curitiba, in front of more than 1,600 people. We've also received some negative feedback from festivals, which, to me, confirms the relevance of Casa Izabel. After all, it’s cinema’s role to question spaces, and, in turn, to be questioned.

Considering that this interview is directed towards Screening Rights Film Festival in the United Kingdom, is there any message you want people to take from the film and this interview?

Well, you're in a land of significant colonisers. I don’t think we can ignore the fact that colonisation is inseparable from slavery. That must never be forgotten. Furthermore, we need to be actively engaged with social movements and the resistance and ruptures they create. Only then will one message be clear: people will not give up the rights they have fought for. And they won’t stop until we all share the same rights; we want nothing less. It’s time to listen to those who have been continuously silenced and to stop any attempt to silence them.

GUEST CURATOR’S BIO

Daniel Zacariotti is currently a PhD Candidate at the University of Warwick. His work is focused on queer art forms under far-right and fascist governments in Latin America, with a decolonial and intersectional epistemological approach.

Daniel Zacariotti

Gil Baroni

What is SRFF?

Screening Rights Film Festival (SRFF) is the West Midlands’ festival of socially engaged and formally innovative cinema from the Global South.

It was founded in 2015 by Professor Michele Aaron, then a Senior Lecturer in Film Studies at the University of Birmingham, now a Professor in Film & TV Studies at the University of Warwick. Initially hosted at various venues in Birmingham, SRFF expanded to include Coventry in 2018, and an online edition took place in 2020. Situated at the intersection of art, academia, and activism, the festival is primarily funded by the Warwick Institute of Engagement, with occasional support from Film Hub Midlands.

SRFF is known for showcasing a diverse range of films that explore human rights and social justice issues, from historical atrocities to contemporary stories of activism, engaging with some of the most urgent issues of the past, present, and future. The festival aims to foster connections within and between the local communities and initiatives of the West Midlands, create space for critical thinking, and offer tools for direct action. The focus is not only on the films but also on the post-screening Q&A sessions and audience participation. All screenings at the festival include special events with panel discussions featuring experts on the topics raised by the films.

ARCHIVE

SRFF 2024: DOUBLE BILL

CURATORIAL STATEMENT

Screening Rights, a festival of socially engaged and formally innovative cinema from the Global South, returns with a new, highly ambitious and conceptual 10th-anniversary edition, which will take place from 17-20 October in Birmingham and Coventry.

Solidarity Through Mutual (Un)learning

In line with this year’s subtitle and theme, DOUBLE BILL, we will be screening films from seemingly different and sometimes geographically distant contexts that, in fact, share much in common—such as struggles, traumas, and cultural similarities. Each screening will pair a feature with a short film or present a series of mid-length moving image works that are intended to complement, echo, and enhance one another. We are particularly interested in promoting South-to-South solidarity through mutual (un)learning between countries and populations in East and West Asia, East Africa, and Latin America on the one hand, and those in Eastern Europe, Central Asia, and the South Caucasus on the other. The motif of duality and doubling is highlighted through our visuals, namely golden lines dissecting film stills in two.

What’s On

The festival comprises 14 films in total, with two screenings in Coventry, at the Warwick Arts Centre and the Coventry Transport Museum, and four in Birmingham, once again taking place at the Midlands Arts Centre, a local favourite. Most of the films are cutting-edge festival titles from Palestine, Ukraine, Armenia, Georgia, Brazil, Ethiopia, Iran, and more, released in the last two years and never before screened in Birmingham or Coventry. A new addition to the festival is the online screening of two shorts, staged in collaboration with the Birmingham-based arts initiative Grand Union, which will take place on the Grand Union website immediately before and during the festival, from 11-20 October. It is designed to offer a glimpse of the broader programme and convey the concept behind DOUBLE BILL through a concise and evocative experience lasting about half an hour. While engaging with the local industrial context and serving as a continuation of our event on colonial railroads, it is also aimed at expanding our outreach to larger audiences.

Guest Curation

A key aspect of this year’s festival is the system of guest curation, designed to make the screenings more organic, authentic, and socially responsible. Invited specialists, who are deeply embedded in specific communities—such as academics, activists, community leaders, and creatives—will contribute responses to the films, including essays, lists, poems, interviews, and playlists, and participate in post-screening panels.

Celebration of Commonalities, Recognition of Differences

Running through these six in-person and one online event is the celebration of commonalities and the recognition of differences. How do we stand in solidarity with one another in times of apartheid, disinformation, and double standards? How can we move beyond the binary thinking of the Cold War and recognise systems of oppression (and resistance) as intersecting parts of a larger whole? By bringing various communities together and facilitating vibrant, diverse, and cross-pollinating events, we aim to activate a process of learning (and much-needed unlearning)—a temporary utopia where voices that do not necessarily align can be heard together through thoughtful organisation. The festival is thus at once a community gathering and an educational event: similar to the model introduced by one of the festival’s titles, Tekla Aslanishvili’s brilliant study of railroads in the South Caucasus, A State in a State, it is a symphony that celebrates the multiplicity of human experience and resistance.

From Ukraine to Palestine, Occupation Is a Crime

Drawing on the topics that the festival has engaged with in previous years, SRFF 2024 reaffirms its commitment to certain struggles. Our opening night, dedicated to queer archives and reenactments, features Gil Baroni’s Casa Izabel, a colourful, Almodóvarian comedic thriller about queer resistance in Brazil and a spiritual successor to last year’s title, Sebastien Lifshitz’s Casa Susanna. The festival once again explores the occupation of Artsakh through the screening of Shoghakat Vardanyan’s 1489, a deeply moving and intimate first-person account of Azerbaijani aggression, which was awarded the main prize at IDFA, the world’s premier documentary film festival. Continuing our prior engagement with ESEA communities in Birmingham and Coventry, we’re also exploring the long-classified story of the racialised forced displacement of the Chinese Liverpudlians in Hester Yang’s The Undesirables. At the crux of SRFF 2024: DOUBLE BILL are two Palestinian-Ukrainian solidarity screenings meant to complement one another: the first celebrates Palestinian and Hustul cultures (Lamees Almakkawy’s Dancing Palestine and Marta Hryniuk’s and Nick Thomas’s Weightless), while the other militantly demystifies russian and zionist propaganda (Oksana Karpovych’s Intercepted and Kamal Aljafari’s Paradiso, XXXI, 108).

Site Specificity: Railroads, Industrial Infrastructures, and The British Petroleum Archives

If last year we engaged with the University of Warwick premises as part of a mediated tour around its art collection, this year we’re focusing on the industrial and transportation context of the Midlands by organising a series of online and in-person events about railroads in collaboration with the Transport Museum in Coventry and Grand Union in Birmingham. Specifically, we’re interested in examining the histories of British colonial infrastructures in Iran and Palestine (Sanaz Sohrabi’s Scenes of Extraction and Yiru Qian’s Sebastia Disagreement) and Soviet and russian colonialism in the South Caucasus (Tekla Aslanishvili’s A State in a State and Felix Kalmenson’s and Rouzbeh Akhbari’s A Passage). These events are particularly fitting as the University of Warwick was formerly sponsored by British Petroleum and still holds the BP archives that are accessible only to accredited researchers.

Research ⮂ Practice

At least three films at this year’s Screening Rights — Sebastia Disagreement, Dancing Palestine, and The Undesirables — were realised within academic infrastructures as part of practice-based MA programmes, while some of the others are the result of close collaboration with researchers and archives (A State in a State, A Passage, Scenes of Extraction, Neo Nahda, Weightless, Paradiso, Casa Izabel) or oral testimonies (Intercepted, 1489, The Medallion, Three Borders). In this regard, the festival — a hybrid endeavour in itself, partially funded by and originating from the University of Warwick — aims to connect local communities with the worlds of filmmaking and academia, while supporting the work of recent graduates, early-career filmmakers, and video artists, and expanding the boundaries of artistic research.

Bittersweet symphony

DOUBLE BILL is a theme open to experimentation, and even somewhat playful, which is particularly helpful when dealing with hard-hitting, challenging subject matter. Alongside feelings of anger and indignation, we also wanted to leave space for pensiveness, curiosity, and joy (reflected in our poster, featuring a still with Neo Nahda’s self-styled archivist protagonist). Admittedly, some events are difficult to “enjoy” in the traditional sense (and certain screenings even contain trigger warnings), but we hope that the audiences of the West Midlands learn something new and appreciate some of the most innovative works of socially engaged filmmaking in recent years.

The festival was researched, conceived, and facilitated by Misha Zakharov as part of his ongoing practice-based PhD project in Film & TV Studies at the University of Warwick. It was coordinated by Dr Pablo Alvarez and directed by Professor Michele Aaron.

STATEMENT OF SOLIDARITY

The festival unequivocally stands with all oppressed groups whose stories it is indebted to: those fighting russian and western imperialism, those forcibly displaced, and queer and trans people.

Deeply moved and inspired by the Ukrainian Letter of Solidarity with the Palestinian People, the history of Crimean Tatar and Palestinian solidarity, and the stories of Palestinian-Ukrainians, we are centring both Palestine and Ukraine as part of our festival. As an initiative aimed at knowledge production, Screening Rights supports the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) and is proud to screen moving images works highlighting 76 years of “israeli” occupation and the ongoing genocide of Palestinians, such as Paradiso, XXXI, 108, Dancing Palestine, and Sebastia Disagreement. Facilitated by a queer-identifying russian-born person of colour, the festival also supports the Ukrainian boycott of russian cultural production and is immensely grateful to present films that demystify and combat russian imperialism, such as Intercepted, Weightless, A State in a State, and Three Borders.

We are privileged to have the platform and resources to process the ongoing russian full-scale invasion of Ukraine and the “israeli” genocide of the Palestinian people, as well as the wave of racist pogroms and horrific acts of anti-trans violence in the UK. While we redistribute these resources — financial and intellectual — among audiences beyond the historically elitist context of British academia, we also recognise the limits of our own positionality. We acknowledge the University of Warwick’s complicity in the genocide of the Palestinian people through its continued financial ties with Moog, Rolls-Royce, and BAE Systems. We also recognise its former ties to the ecologically devastating British Petroleum (as well as the fact that Warwick still holds the BP archives on its premises), which became the impetus of our site-specific events on colonial infrastructures. Many struggles are beyond the scope of this year’s festival, such as those in Sudan and Congo, Rojava, Kashmir and East Turkestan, as well as the struggles of indigenous peoples in what are known as “russia”, “the united states of america”, “canada”, “australia”, and “new zealand”.

We urge you to donate to organisations that directly support the people related to the screenings, such as Vsesvit, kharpp, Queersvit, and Eurorelief. We hope that the guest responses accompanying the festival will offer suggestions that can enrich its context and provide further tools for exploring the issues it raises.

ACCESSIBILITY

The venues hosting our screening events — Warwick Arts Centre, Coventry Transport Museum, and MAC Birmingham — are equipped to provide an accessible environment for audiences with disabilities, including wheelchairs available for visitors and accessible toilets. We will do our utmost to meet any access requirements to ensure no one is excluded. All three of our venues have lift access, and one has step-free access to the screening room. The three screens at the Warwick Arts Centre have designated seating for attendees with disabilities and step-free access via lift. The Midlands Arts Centre has installed two types of induction loop systems for visitors with hearing impairments, and its cinema also has designated wheelchair spaces that are kept off general sale.

Every film will be shown with English subtitles and/or in a captioned version to accommodate audiences with hearing impairments, as well as visitors whose first language is not English.

We’re keen to foster connections within and between communities, so if you’d like to attend the screenings as a group, we can offer promo codes for discounted tickets, as well as free tickets for unwaged persons and those in need.

Please email Screening Rights curator Misha Zakharov (misha.zakharov@warwick.ac.uk) and the festival coordinator Pablo Alvarez (pabloalvarezmurillo@gmail.com) for more details.

HOW TO FIND US

The directions to our three venues can be accessed on their respective websites:

Warwick Arts Centre

One alternative route to the Warwick Arts Centre for those travelling from other cities would be to disembark at Canley train station and take a 30-minute walk to the Warwick campus.

Coventry Transport Museum

MAC Birmingham

VOLUNTEER WITH US

SRFF 2024 is looking for volunteers—film buffs, socially engaged citizens, and students—in Birmingham, Coventry, and the surrounding areas, to help greet our guests, distribute brochures and questionnaires before and after screenings, assist during post-screening discussions, and capture on-site photos and videos for our social media accounts. We’re offering free tickets to festival screenings and can cover your travel expenses—please email Screening Rights curator Misha Zakharov (misha.zakharov@warwick.ac.uk) and the festival coordinator Pablo Alvarez (pabloalvarezmurillo@gmail.com) for more details.

In line with this year’s programme, we are particularly eager to work with volunteers whose background or interests lie in the following regions:

— East Asia (especially China);
— Eastern Europe (especially Ukraine);
— Central Asia (especially Uzbekistan);
— South Caucasus (especially Armenia and Georgia);
— Latin America (especially Brazil);
— West Asia (especially Iran, Lebanon, and Palestine);
— East Africa (especially Ethiopia).

SRFF 2024: DOUBLE BILL — PROGRAMME AT A GLANCE

ONE’S CONNECTION IS ANOTHER’S DIVISION: COLONIAL INFRASTRUCTURES IN SOUTH CAUCASUS AND PALESTINЕ︎

QUEER ARCHIVES AND REENACTMENTS IN LEBANON AND BRAZIL + Q&A︎

RAILROADS AND COLONIAL INFRASTRUCTURES IN SOUTH CAUCASUS AND IRAN + Q&A︎

PALESTINIAN-UKRAINIAN SOLIDARITY SCREENING 1: COLLECTING STORIES, PRESERVING CULTURE + Q&A︎

PALESTINIAN-UKRAINIAN SOLIDARITY SCREENING 2: SCRUTINISING THE ENEMY + Q&A︎

GENOCIDE, DISPLACEMENT, AND FAMILY HISTORIES IN ETHIOPIA AND ARMENIA + Q&A︎

KORYO-SARAM AND CHINESE LIVERPUDLIANS: STORIES OF EAST ASIAN FORCED DISPLACEMENT IN THE USSR AND THE UK + Q&A︎

ONE’S CONNECTION IS ANOTHER’S DIVISION:
COLONIAL INFRASTRUCTURES IN SOUTH CAUCASUS AND PALESTINE

QUEER ARCHIVES AND REENACTMENTS
IN LEBANON AND BRAZIL

GUEST RESPONSES

RAILROADS AND COLONIAL INFRASTRUCTURES IN SOUTH CAUCASUS AND IRAN

PALESTINIAN-UKRAINIAN SOLIDARITY SCREENING 1: COLLECTING STORIES, PRESERVING CULTURE

Guest responses

ON OIL WORKERS’ LABOUR MILITANCY: AN EXCERPT FROM KATAYOUN SHAFIEE’S MACHINERIES OF OIL

QUEER REFUGIUM AND RESISTANCE AMIDST FASCIST STATES: DANIEL ZACARIOTTI INTERVIEWS GIL BARONI ON CASA IZABEL

A LEGACY IN MOTION: ALA AL-ZENATI RESPONDS TO LAMEES ALMAKKAWY’S DANCING PALESTINE

CINEMATIC CONFRONTATIONS AND IMPERIAL ARCHIVES:
PABLO ALVAREZ RESPONDS TO KAMAL ALJAFARI’S PARADISO, XXXI, 108

SRFF 2024 TRAILER

SRFF 2024 BROCHURE

DOWNLOAD PDF

What is SRFF?

Screening Rights Film Festival (SRFF) is the West Midlands’ festival of socially engaged and formally innovative cinema from the Global South.

SRFF 2024: DOUBLE BILL

CURATORIAL STATEMENT

Solidarity Through Mutual (Un)learning

What’s On

Guest Curation

Celebration of Commonalities, Recognition of Differences

From Ukraine to Palestine, Occupation Is a Crime

Site Specificity: Railroads, Industrial Infrastructures, and The British Petroleum Archives

Research ⮂ Practice

Bittersweet symphony

STATEMENT OF SOLIDARITY

ACCESSIBILITY

HOW TO FIND US

VOLUNTEER WITH US

PARTNERS

SRFF 2024: DOUBLE BILL — PROGRAMME AT A GLANCE

ONE’S CONNECTION IS ANOTHER’S DIVISION: COLONIAL INFRASTRUCTURES IN SOUTH CAUCASUS AND PALESTINE

QUEER ARCHIVES AND REENACTMENTSIN LEBANON AND BRAZIL

GUEST RESPONSES

RAILROADS AND COLONIAL INFRASTRUCTURES IN SOUTH CAUCASUS AND IRAN

PALESTINIAN-UKRAINIAN SOLIDARITY SCREENING 1: COLLECTING STORIES, PRESERVING CULTURE

Guest responses

ON OIL WORKERS’ LABOUR MILITANCY: AN EXCERPT FROM KATAYOUN SHAFIEE’S MACHINERIES OF OIL

QUEER REFUGIUM AND RESISTANCE AMIDST FASCIST STATES: DANIEL ZACARIOTTI INTERVIEWS GIL BARONI ON CASA IZABEL

A LEGACY IN MOTION: ALA AL-ZENATI RESPONDS TO LAMEES ALMAKKAWY’S DANCING PALESTINE

CINEMATIC CONFRONTATIONS AND IMPERIAL ARCHIVES: PABLO ALVAREZ RESPONDS TO KAMAL ALJAFARI’S PARADISO, XXXI, 108

SRFF 2024 TRAILER

SRFF 2024 BROCHURE

What is SRFF?

Screening Rights Film Festival (SRFF) is the West Midlands’ festival of socially engaged and formally innovative cinema from the Global South.

SRFF 2024: DOUBLE BILL

CURATORIAL STATEMENT

Solidarity Through Mutual (Un)learning

What’s On

Guest Curation

Celebration of Commonalities, Recognition of Differences

From Ukraine to Palestine, Occupation Is a Crime

Site Specificity: Railroads, Industrial Infrastructures, and The British Petroleum Archives

Research ⮂ Practice

Bittersweet symphony

STATEMENT OF SOLIDARITY

ACCESSIBILITY

HOW TO FIND US

VOLUNTEER WITH US

PARTNERS

ONE’S CONNECTION IS ANOTHER’S DIVISION:
COLONIAL INFRASTRUCTURES IN SOUTH CAUCASUS AND PALESTINE

QUEER ARCHIVES AND REENACTMENTS
IN LEBANON AND BRAZIL

CINEMATIC CONFRONTATIONS AND IMPERIAL ARCHIVES:
PABLO ALVAREZ RESPONDS TO KAMAL ALJAFARI’S PARADISO, XXXI, 108