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Film still from Assem Hendawi’s "Simia: Stratagem for Undestining". A round, low room in red light. In the center a glowing fireball, around it flying objects (stones, chairs), a hand and insects.
Assem Hendawi, SIMIA: STRATAGEM FOR UNDESTINING (Still) © Assem Hendawi

Tue 21.02.
20:00

Short film program consisting of:

SIMIA: STRATAGEM FOR UNDESTINING
SAHNEHAYE ESTEKHRAJ

Total running time approx. 70 min.

  • Director

    Assem Hendawi

  • Egypt / 2022
    26 min. / Original version with English subtitles

  • Original language

    English

Simia: Stratagem for Undestining

Speculation as a method for worldmaking: SIMIA: STRATAGEM FOR UNDESTINING was created in conversation with the fictitious artificial intelligence program Project Simiyaa, which aims to create a planned economy and manage infrastructural commons across Africa and the Middle East.

  • Director

    Sohrabi Sanaz

  • Canada / 2023
    43 min. / Original version with English subtitles

  • Original language

    Farsi, English

Sahnehaye Estekhraj

SAHNEHAYE ESTEKHRAJ (Scenes of Extraction) creates an archival constellation from the still and moving images of British Petroleum Archives, documenting the expansive colonial network behind the British geophysical expeditions that spanned across Iran, but also reached other British oil operations in Southeast Asia. The film focuses on the parallel production of geological and ethnographic surveys, both through amateur geological footage and official technical film surveys produced by BP. It weaves through decades of archival documents to parse out the visual history of the “Reflection Seismography” method for oil exploration, which was heavily tested across the Iranian oil belt despite its destructive and speculative nature. Situated at the nexus between science and technology studies and media archaeology, the film traces the technical legacy of these geophysical methods that are still used in deep-sea mining and are the backbone of the global energy complex. By blending the archival and speculative modes of representing the geological past, SAHNEHAYE ESTEKHRAJ reveals the gaps and discrepancies between the archival and lived histories of extraction and the ecological ruination of its aftermath.

Funded by:

  • Logo Minister of State for Culture and the Media