North American Premiere
A startling confrontation with a photograph taken in Gaza, in December 2023 (which now exists on social media), triggers questions about what it means to be an onlooker. Focusing on pixilated details, the incoherent forms begin to take shape, while the human and un-human implications of this scene reveal a historical context that cannot be unseen. Accomplice, accessory, abettor. Does the passive or active observer play a role in these transgressions?
Community Partner
UK
2024
English
Graphic violence
This short is featured in:
MODES 1
The veracity of history is made visible, audible, and tangible. Embodying the principle of “Art as modes of truth production,” strap in for a sensory examination of the varying forms of aggression enacted by those with power as a means of dominance.
Indigenous & Community Access
Credits & Director
Screenwriter
Miranda Pennell
Editor
Miranda Pennell
Miranda Pennell
Miranda Pennell is a London-based filmmaker whose work often recycles images from British colonial archives to reflect on contemporary situations. Her films emphasise the role of the imagination in the interpretation of historical documents,
recently drawing on genre-fiction as a way of engaging with troubled histories.
Pennell received an MA in visual anthropology in 2010 from Goldsmiths College, University of London, and she completed her PhD research at the University of Westminster in 2016.
Her films have screened at Viennale, Rotterdam International Film Festival, New York Film Festival, Berlin International Film Festival, FID Marseille, London International Film Festival and among others.
Recent selected group exhibitions include Evil Eye: The Parralel Histories of Optics and Ballistics (2023) Tabakalera, San Sebastian; The Light Becomes The Eye (2023), EUCA Annex, London.
