Charis Vivante

A series of migrants who at times narrate and impersonate shards of myths, among them the Great Goddess, the Virgin of Bach’s Magnificat, the Sulamite of Stockhausen’s Song of Solomon (“I am black but comely”), tales by Herodotus, Kafka, Villon (as set to music by Ezra Pound). Third part of the Flower of Eryngium cycle.

The film seeks to question how a certain image is perceived. The point of departure is a photograph of a street in Palestine. Later the camera moves to show that the photo includes (in a rear mirror) the image of the photographer with a camera. Finally, the image is reversed as in a mirror. The film is constituted of four unedited rolls of 100-feet 16mm reels, one of which was previously exposed in an 8mm camera.