‘Yet Another Shot’ is a video made on the day when Jubran Tueiny, Lebanese parliamentarian and journalist, was murdered. It shows TV journalists reporting on the tragedy, filmed on the actual explosion site. Seeing the event from the point of view of TV reporters, who appear utterly undramatic as they are trying to communicate the drama, tells us a lot about the social and mediated perception of such an event.

Yet Another Shot, lb, 2005, 5:03

The Cold War was based on fear and deterrence. In both the East and the West, propaganda films were made to prepare audiences for the worst: a nuclear attack. While some of these films were naive and clumsy, others were more realistic, as can be seen in the Hungarian 16mm film ‘Helenés’. Christoph Draeger used this film, which he found in 1997 in a defunct training camp of the Hungarian army. The editing, sound and monotonous voice bring to mind Alain Resnais’ documentary masterpiece ‘Nuit et Brouillard’. The voice-over of this film is subtitled by using most of George Bush’s famous inauguration speech, in which he inflicted serious inflationary damage upon the concept of ‘freedom‘ by repeating it no less than 41 times. Distributed by Montevideo.

Helenès, ch, 2004, 17:50

The video 'The Fittest Survive' is based on filming the five-day course “Surviving Hostile Regions” done in January 2006 in Wales, Great Britain by the AKE Group. British ex-special force soldiers are preparing businessmen, journalists and government officials for a stay in Iraq or other dangerous regions. The video, primarily filmed by hand camera, follows the survival-course participants as they experience the staged reality of live shell bombardments, an assault by armed guerrillas, the rescue of accident victims, and moving through mine fields. Above this training camp in Wales, low-flying British fighter planes hold manoeuvres and foreshadow the real war theatres in which the class participants will soon be.

The Fittest Survive, at, 2006, 23:00

Three places offside: people on a street in Harar, Belgrade, and a favela in Buenos Aires. The camera shows fluid and recurrent patterns in the moves of people and
detects stories in people’s faces as they become transparent. Our glance encounters three unimportant scenes and is thrown into the depth of the moment, into a microcosm of time that one can only enter from the edge. As the persons and their identities seem to disappear under the observant gaze, the camera moves closer to the passers-by in the third part and loses itself in a moving void without centre.

Périphériques, de, 2005-2006, 13:00