note EN
5.10.2019
Michel Khleifi, Mémoire fertile / Fertile Memory

Compiled on the occasion of new restorations of Michel Khleifi’s films by CINEMATEK and a retrospective film programme organized by CINEMATEK and Courtisane (Brussels, 26 September - 05 November 2019), this publication aims to provide a modest summary of the trajectory of Michel Khleifi on the basis of a series of texts and interviews that were produced between 1981 and 2019. The publication ‘Michel Khleifi, Mémoire fertile / Fertile Memory’, compiled by Michel Khleifi and programmer Stoffel Debysere, is available for 8 euros at CINEMATEK and can alse be read on the issuu acount of Courtisane.

Check out the Sabzian selection of the Michel Khleifi retrospective here.

Related Content

Article NL
3.07.2014
The Fire Next Time

Cinema, een behouden huis

Begin april vond in KASKcinema in Gent The Fire Next Time, afterlives of the militant image plaats, een tweedaags programma met lezingen, performances en filmvertoningen. Aansluitend opende in KIOSK de tentoonstelling L’œil se noie van Eric Baudelaire en Mathieu Kleyebe Abbonnenc. Beide projecten werden georganiseerd in het kader van The Uses of Art, een project van de museumconfederatie L’Internationale.

Article FR EN
17.03.2021
Fertile Memory

A Budding Filmmaker Generates a Past With a Future

The source that irrigates Fertile Memory springs from two poles that constitute the foundations and permanence of the Palestinian soul: usurped land and women. Few films show daily life in the physical and temporal reality (32 years for Mrs Farah Hatoum) of the Israeli occupation. And if these films exist, their lack of credibility is such that at best, we make do with imagining the thoughts behind the gestures and gazes – the deepest dimension of which only the prism of culture will render.

Article FR EN
17.03.2021
Intérieurs

Khleifi a réussi à incorporer au cinéma certains aspects de la vie des femmes palestiniennes. Il prend soin de laisser les forces de Farah et Sahar émerger lentement, même si c’est à un rythme qui risque de perdre le grand public qu’il mérite. Il déçoit délibérément les attentes suscitées en nous par le film commercial (intrigue, suspense, drame), en faveur d’un langage de représentation plus innovant et, du fait de sa congruence avec son matériel irrégulier et excentrique, plus authentique.