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Le Navire Night
A Film by Marguerite Duras

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With Le Navire Night, writer and filmmaker Marguerite Duras explores the matrix of love, desire and language in her characteristically oblique and experimental style. The film’s lovers—played by Dominique Sanda and Mathieu Carrière—are never allowed to meet in person, instead carrying out their conversations over the phone, using unlisted phone lines leftover from the German occupation of Paris. 

At once dreamlike, intimate and fundamentally anonymous, Le Navire Night challenges the conventional relationship between sound, image and narrative. 

Ziyara
A film by Simone Bitton

Inviting viewers on a cinematic pilgrimage to her homeland of Morocco, celebrated documentary filmmaker Simone Bitton explores her Jewish roots through the sphere of the Muslim guardians of the nation’s Jewish memory, centered around the tradition of “ziyara”.

In the arid but beautiful landscape of rural Morocco, the country’s youngest citizens have largely never themselves coexisted alongside Jews, although their presence is still felt in symbols, old shrines, synagogues, and cemeteries.

Bitton conducts intimate conversations not only with those old enough to remember sharing their land with Jews, but with a new generation of Moroccans inspired by their heritage. These deeply personal insights include everyday people and specialists, all of them modest and magnificent heroes in a relentless quest for modernity, dignity, and social justice.

Marguerite Duras (Le Navire Night) known as the author of The Lover and for the screenplay for Hiroshima, Mon Amour  – was one of the most prolific, controversial, and renowned cultural figures in post-war France. Between 1943 (when she published her first book) and 1995 (when she published her last – That’s All), Duras directed 19 films and wrote more than 70 novels, plays, movies, and adaptations.

A friend of Duras, Dominique Auvray was also the editor of three of her films. Given access to an amazing breadth of archival materials, photographs, television interviews, extracts from Duras’ films, and home movies from the 1950’s through the 1990’s, Auvray has crafted a personal portrait of the artist.

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