Diego Marcon

This film is an homage to the Gaza Strip and to the possibility of hope beyond hopelessness. Ouroboros, the symbol of the snake eating its tail, is both end and beginning: death as regeneration. A 74-minute experimental narrative film that turns the destruction of Gaza into a story of heartbreak, Ouroboros asks what it means to be human when humanity has failed. Taking the form of a love story, the film's central character is Diego Marcon, a man who embarks on a circular journey to shed his pain only to experience it, again and again. In the course of a single day, his travel fuses together Native American territories, the ancient Italian city of Matera, a castle in Brittany, and the ruins of the Gaza Strip into a single landscape.

A family gathers around a bed to sing a lament to their own deaths, accompanied by a blackbird.

An encounter between the kid and four characters represented by costume props: gloves, foulard, trousers, and pullover, and an encounter between the golden age of American animation and Italian opera.

A family composed of three generations of women live in an old house in the neighborhood of Ñuñoa. On one hand, Leonor must decide her future, on the other hand, Monica must decide if she sells the house in which they have lived their entire lives while Emilia, must face her Alzheimer’s disease.

Capital was shot at various locations including the CityLife residential complex in Milan, the Nile riverfront in Cairo, residential neighborhoods in Alexandria, and construction sites of new cities—places where architectural histories are romanticized even as they are being erased. Through these sites, al-Sharif explores the desires that drive politicians, urban planners, and their imagined ideal residents as well as how the resulting designs, with their disregard for the historical failures of colonial architecture, seek to transform and control the cultural and political landscape. Together the film and installation hint at the limits of free speech and reveal how the legacies of fascism live on in the present.

Around the sleeping bodies, some presences occupy the architecture and move around the space in obscure activities: nothing of their actions is visible to us, except in the fragments in which the image shows itself under the flashlight. Monelle is a circular film without any narrative or hierarchy, without a beginning or an end, and it circumscribes a place of promiscuity and ambiguity between the different formats used—35mm and CGI animation—and the approaches of two opposites film attitudes—the structural cinema and the horror genre.