From Africa, Abou watches the fence and the future in Europe ahead of him. For over a year, he and thousands of other migrants have attempted to jump the enormous fence system that separates Morocco and Spain - a land border by the enclave Melilla. Behind the camera, Abou portrays the struggle for dignity and freedom on the militarized frontier.
When they gave a DV camera to Abou, were the directors thinking about the Medvedkine group and the workers in 67-74, or Armand Gatti and the migrant workers in ’76, or even Jean-Luc Godard with the Mozambican peasants in ’78, who all did the same with video? In any case, who other than Abou could achieve this proximity? He captures the hopes, the wounds, the strategies, the decisions taken, the hierarchies… Should they cross alone or together? Abou dramatises himself, giving instructions to his colleagues. He becomes the director, invested with a power that may prove derisory in the face of the violence going on. We do not forget their descent by the hundreds from the slopes to the barriers, filmed with a night-vision camera. He makes these men-silhouettes of the mountain visible and familiar to us, thus making an essential film.
Film critic and editor for Africultures
Moritz Siebert est né le 27 Août 1973 à Stuttgart. Initialement formé à Berlin en tant que médecin et anthropologue, il étudie le cinéma documentaire (avec Estephan Wagner) à l’École nationale du cinéma et de la télévision au Royaume-Uni. Ces quinze dernières années, il a travaillé sur le thème de l’immigration, s’inspirant des multiples histoires des personnes qu’il a rencontrées. Ses films primés comprennent "Long Distance" (2009), "My Name is Karl" (2008) et "Belgrade Backspin" (2005, co-dirigé avec Anne Misselwitz).