This week, a documentary bounces on the tragic Belarusian news, a director shows us Antarctica in a new light, while scientists alert us to the “thresholds” that our planet will soon have reached. More pleasing, we (re) discover the central place that women have played in the revolutions of modern painting since 1850. And we laugh with a certain Coluche, who died thirty-five years ago on June 19 .
To be 20 years old in Minsk
Almost three weeks after the hijacking of a plane by Belarus to arrest an opponent, this documentary takes a raw look at the regime of Alexander Lukashenko. Reelected for a sixth term in August 2020, the mustached autocrat succeeded in uniting a large part of his population against him, including the youth, whose evocation is at the heart of this documentary.
After ten years spent abroad, including seven in France, the 26-year-old director Andreï Vaitovich decided, in August 2020, to return to his native country to film the elections, his friends, and history. working. “Before the elections, we didn’t know our neighbors, says Nastya, a dancer interviewed in the documentary. Now we are all united. “
The director shows a rebellious youth who wonders: should we demonstrate at the risk of being imprisoned, or even worse? Should we go into exile and continue the struggle outside the country? Besides Nastya, he meets Alexei, a young computer scientist who has been beaten up, or Kiryl, his friend who has taken refuge in Warsaw, where six Belarusian students live in a shared apartment, trying as best they can to imagine the future. Andrei wants to believe it, who says in his soft voice: “Poland and Lithuania are helping us. Europe must not forget us ”. Alain Constant
“Razam (ensemble), a Belarusian novel”, documentary by Andreï Vaitovich (France, 2021, 52 min), on LCP.fr.
Women artists come out of the reserve
“On what criteria do we select an artist? What mechanisms are at work in oblivion? Do exhibitions by female artists promote their recognition or do they confine them to a niche? ” In her documentary, Susanne Radelhof poses bluntly the question of the place of female artists who have marked painting since 1850, questioning the narratives constructed by the history of art. They were numerous, adulated for a time during their lifetime, to sink into oblivion. All of them have in common the fact that they risked themselves in areas that were then fiercely reserved for men, with radical creativity. Thus Berthe Morisot, co-founder and star of Impressionism during her lifetime, but whose name is often eclipsed by those of Manet, Renoir, Cézanne or Degas. Or Natalja Gontscharowa, Russian avant-garde painter, the Swedish Hilma af Klint, precursor of abstraction, Germaine Krull, pioneer of modern photography, Kiki Kogelnik, pioneer of pop art, Valie Export, icon of the performance… The director gives a lot of voice to the women who exhume these artists too quickly forgotten, and puts forward the idea that it is the accession of women to the positions of museum director, curator and art critic that made it possible the evolution of looks. Mouna El Mokhtari
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