Film atlas

Participants answer, perform, and reorganize their experience, then watch the film together and criticize their screen images. Identity moves among lived position, filmed role, and collective discussion, turning the camera from an investigative tool into a participant in the event.

Montage, intertitles, pauses, and discussion organize projection as political action. Because the film presupposes a revolutionary people available to be addressed, it becomes a decisive comparison for testing the boundary of Deleuze's claim that the people are missing.

Su goes for noodles and Chow waits on stairs and corridors; the same music returns similar routes while distance, glance, and hesitation quietly change. When they act out how their spouses began the affair or how a confrontation might unfold, a scene often reveals only midway that it is rehearsal. The unactualized conversation thus determines what they can still say in actual life. The cavity at Angkor Wat preserves not a completed romance but a relation already becoming memory as it occurs and still continuing to act.

The film’s rupture produces a new perceptual regime among love, legend, human-animal becoming, and forest, testing the postwar European model in return.

Headlights repeatedly illuminate similar slopes and fountains, yet the suspect can only answer 'not here.' The search accumulates no mastery of the steppe; it releases wind, an apple rolling into a stream, car conversations about illness and family, and the pause produced when the mayor's daughter serves tea. Even after the body is found, transported, and examined, the doctor suppresses a detail that could alter responsibility. Procedure finishes while the event remains unexhausted: the time of death stays among landscape, fatigue, and a judgment left unwritten.

Theatre space, spectral spectators, waiting, and cinematic memory deprive action of its object; this relation provides the time-image criterion.

Criterion: the Dangmai sequence lets search, past, future premonition, and spatial traversal coexist within one present.

Criterion: whether dream repairs action or opens an indiscernible actual/virtual circuit.

Demolition space, broken relations, and sudden unreal objects remove the coordinates of action; local history provides the analysis’s core scale.

Clocks, tracks, and emptied streets compress the town into a one-hour countdown. Kane repeatedly asks for help, yet action cannot organize the community. The duel completes a classical action-image, but the badge dropped in the dust prevents victory from restoring trust.

Sabzian enters a family as ‘Makhmalbaf,’ and trial footage plus reenactment asks the actual participants to perform themselves. No single judge settles identity as true or false; the camera follows how a lie produces relations, shame, and creative desire.