Camera and The Mirror_trailer

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Alternating my focus towards our impact as humans, I considered to slowly removing myself from the
foreground and I began to swift my perception towards the point that humans have become rather
secondary yet the role of the Camera is the one mandatory.

The notion that the world and human experience are programmed is relatively new. Several
implicit aspects of this notion have not yet entered our consciousness. Algorithms are using certain
types of properties and are developing schemes and relational occupancies formulating specific
types of representation. This representation has the typology of an image. How can an image allow
for a notion of subjective freedom, it is possible to act as if action were free?
Vilem Flusser, Post-History

With Camera and The Mirror I question and at the same time emphasize to the importance of our
networked reality and wish to challenge what is it that we experience as cinema today in our
surveilled everydayness? How does the major history of cinema reflect in the future of cinematic tools
whilst those might be the tools of freedom from the algorithmic governance that we live in?

Camera and The Mirror is an experimental documentary film and part of Lalou’s long study on
‘mechanisms of the seen’ that investigates the relation between camera, performer, operator, image
capture and the viewer’s experience. The film involves the relation of the camera’s role in the
animated experience of the viewer, by analyzing the function of the medium in our contemporary
surveilled networked life towards the history of film production.
With first chapter ’Virtual Presence’ using clips by her first ever feature film ‘The Dialogue’ the narrative moves throughout three major makers of film history, three major works of Farocki, Makhmalbaf and
Godard. By marking an index of cameras demonstrating the ideas behind its medium produced and
by scrutinizing the ingenious of each film Lalou directs a manual towards freedom from algorithmic
governance; where the relation between camera, view and actor, subject and object is foregrounded
and destabilized. The result is an avant-garde film compiled by four chapters, four independent statements, four video essays.

video essays presented:
Camera Actors, 2018 (13:19) with video footage from Le Mépris by Jean-Luc Godard
Human Agents, 2018 (04:09) with video footage from Salaam Cinema by Mohsen Makhmalbaf
Animated World, 2018 (06:00) with video footage from Parallel I-IV by Harun Farocki
Virtual Presence, 2018 (18:58) with video footage from The Dialogue by Maria Lalou

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