After the babbling of a flock of children in Loubia Hamra (FID2013), after the multilingualism (including a reversed language) of the various troops which appear restless in Le Fort des Fous (FIDLab 2014), all of a sudden Narimane Mari confronts us with early silent cinema. Almost silent actually as the sole male protagonist is moved at the end of his own monotonous chant, a do...
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