Lluís Escartín

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Amanar Tamasheq parts from the exciting adventure of the director on a trip with the Tuaregs rebels in the desert of Mali, to convert the camera into the most powerful weapon. The terrible history of this people, always under threat, is built through their own words in a text that, from their own statements reworked, overlaps in the form of subtitles to images. These, far in the highest degree of language that normally tells the violent, they gain political power and radical rarely seen.

Between Africa and the catalonian Penedés stands the distance of a videocamera. A cut. What is what, where are we, where did the songs we sang while we worked go, where is the group, the colective, the community?

The most original aspect of Escartín, which gives his work a radical character, is a certain Olympian indifference to opinions conceived a priori as correct and his willingness to get to the bottom of things. That is why a short film with the curious title Amor (Love) is so important. It consists of an interview with a young former Israeli soldier, recorded in a single afternoon, in which the subject declares that it is necessary to achieve peace with the Palestinians after all the hatred and wounds of war. The soldier's speech has something innocent and conventional about it, but there is a dark side, where it is clear that he does not want to talk about his personal experience in the conflict, and he refers to something called kill rush, an addiction that one acquires when one has started killing.

An ambulance trip through the desert, the camera accompanies someone injured. Views from the hospital room to the street.

The documentary Path of the Bees demonstrates, with its ethnographic restlessness, an orthodox point of view in the staging and in the final result. The way in which he portrays the native people of the Chiapas jungle, disregarding the explanatory voiceover and getting carried away by a visual narrative made of details; It makes me perseverantly document the vegetation of the place, the constructions, the gestures and the looks of those who inhabit it.

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In Mohave Cruising, we attend one of the most authentic, committed and unexpected speeches about beauty, art and its interpretation by a couple of palurdos who refuse to accept that you have to belong to the world of culture to appreciate the desert and the sunsets.

Texas Sunrise experiments with non-linear film language to create a critical discourse in which the confrontation between sound and image generates a work that is as simple and complex as it is poetic and political.

Interviews with Egyptian artists about the Egyptian revolution in 2011