
Saints’Game
On screen the film starts with and then develops my obsession for iconic representations, and those of Christian saints in particular.
Throughout this work, as the actors reenact scenes symbolizing saints, I question them on their efforts and determination to detach themselves from their own cultural and religious heritage.
The film’s dramaturgy makes apparent that each actor is an immigrant: from Palestine, Dagestan, Iceland, and France. Everyone comes from a different cultural and religious background, and is not particularly familiar with Christian representations. The purpose is not to confront our heritage but to share our attempts and will to move away from it, literally and figuratively, from where we come from.
In this film we will talk about images in its broader sense: visual memory, religious imagery, social and political Images, especially for those who experienced war as have two of the three main characters.
Everything takes place in Brussels. This geographical detail makes sense. This city, a European and multicultural capital, creates perhaps better than anywhere else an imperfect dispossession, that leads to restless wandering. Brussels is a symbol of modernity, a city of cultural wanderers, a city of foreigners.
In the presence of the director.
Amélie Derlon Cordina
ARGOS, Samuel Hauser Films
Julien Englebert, Son Doan, Amélie Derlon Cordina
Théophile Gay-Mazas, Edith Herregods, Adrien Monfleur
Amélie Derlon Cordina