by Joana Hadjithomas & Khalil Joreige
Cinema cannot repair history. But it can give forms, incarnate, unsettle the ways history has been written. It can reveal, make visible what has been erased while leaving room for what remains invisible.
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This absence, like the blank spaces in Zan newspaper, contains the potential for liberation. This absence leaves her films on the verge of collapse, but in doing so, it forces us to hold them together ourselves, and gives us space into which we project our desires, our visions of freedom. The silences in which the soul can take refuge.
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I posted an excerpt of Enayat on my story, and one of my old college classmates messaged me, “Did you know my mom wrote this book?” I didn’t. I told him to tell her I was a fan of the book. I sat for a while and wondered about obsession.
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