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Middle East & Africa

Rania Stephan
RIOT in 3 Movements

In the summer of 2015, Lebanon faced a sudden and unexpected garbage crisis that swept the country and called into question its public infrastructure. The government had demonstrated a dangerous degree of incompetence and inefficiency, exposing the country’s inhabitants to serious health hazards. Streets, rivers, the sea, and mountains were inundated with piles of garbage, resulting in severe pollution and health risks. In response, Lebanon’s inhabitants took to the streets and historic demonstrations raged for over a period of six months. They first appeared joyful, inventive, and gregarious demonstrations, until they were suppressed by the state through force and intimidation. Lassitude crept as internal divisions weakened and threatened the protest movement. To this day, no one took responsibility for the mismanagement of the crisis. Stephan’s documentary video RIOT in 3 Movements captures the final moments of these demonstrations and seeks to examine how bodies form in a space of contestation. It delves into the formation and dispersal of these bodies, their momentary individuality, and eventual disappearance–an opportunity to interrogate our fleeting victories and enduring defeats. Ultimately, the film serves as a reflection on montage and image-based mediation–by recording the movements of protesters on the street and analysing different gestures and effects with which they move in contested public spaces, Stephan draws a visual grammar for our collective engagement with acts of dissent. RIOT in 3 Movements highlights the power of collective consciousness in the face of state violence, questioning through montage how bodies can come to occupy public spaces and challenge the powers that be.

Artist and filmmaker Rania Stepha’s work is anchored in her country's turbulent reality, offering a personal lens on political events. Her short films and creative documentaries intertwine raw images with a poetic touch, where chance encounters are captured with compassion and humour. She consistently delves into archival materials, exploring forgotten images and haunting sounds that persist in the present. Her work explores how still and moving images collide and collude, multiply and subtract. Approaching images like an editor–part detective, part cinephile, her work traces absence and remembrance. Stephan’s debut feature film, The Three Disappearances of Soad Hosni tells the story of Soad Hosni, one of Egypt’s most famous actresses, who starred in eighty-two feature films between 1959 and 1991. Using filmic montage, Stephan creates a moving portrait of the iconic actress, in which the rumours surrounding her life and death are translated through her image as a projection of the Arab imaginary and its evolution over thirty years.