Director: Payal Kapadia
France, India, 2021, 96', DCP, color
Hindi, Bengali with Turkish, English subtitles
L, a university student in India, writes letters to her estranged lover, while he is away. Through these letters, we get a glimpse into the drastic changes taking place around her. Merging reality with fiction, dreams, memories, fantasies and anxieties, an amorphous narrative unfolds. By turns gritty and lyrical, Payal Kapadia’s A Night of Knowing Nothing (2021) is a penetrating look at the politics of education—of film education specifically—as India’s once thriving liberal public sphere yields to sectarian division and chauvinism. On a background of state-sanctioned violence and intimidation, what stands out is Kapadia’s quiet insistence on the necessity of private reflection. Resistance demands fiction, somehow, even as the failure of news media and other democratic institutions leaves no ground for a non-partisan artistic stance.
Having penetrated the Balkans in the fourteenth century, conquered Constantinople in the fifteenth, and reached the gates of Vienna in the sixteenth, the Ottoman Empire long struck fear into European hearts.
Suggesting alternative models for new social and economic systems, SUPERFLEX works appear before us as energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, or specifically designed public spaces.
In 1998 Ben Jakober and Yannick Vu collaborated on an obvious remake of Marcel Duchamp’s Roue de Bicyclette, his first “readymade” object. Duchamp combined a bicycle wheel, a fork and a stool to create a machine which served no purpose, subverting accepted norms of art.
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