Experimental fiction | HD | 28 Min
Production: Le Fresnoy, Studio National des Arts contemporains, France.
Script: Tamara Erde
Actors: Hande Kodja, Gianfranco Poddighe, Yousef Swade
Dancer: Ephia Gburek
Camera: Gaetane Reauseau | Music: Yann Leguay | Editing: Jérôme Fino | Sound: Sebastien Cabour
Jericho follows the journey of an Israeli director in Europe, on her way to meet her actor appearing in her new film. The Israeli director intends to make a film about war. Being an Israeli this theme should be relatively close to her, yet she finds it is very abstract and vague.
After months of sitting in Jericho, near the city, trying to document the life their, to understand better “her war”, she decides to come and seek for it far away, in the forests of Europe. She sets up an appointment with a Palestinian actor friend, in a forest, and prepares texts from “The War” by Marguerite Duras.
The film follows her during this day, on a journey to their meeting point, that becomes longer and longer. While on the way, a special relation is constructed Gradually between her and the curious driver that picks her up. He tells her about a journey he made twenty years ago to a concert in Vienna when he picked up Marguerite Duras, Pina Bausch and Nadir, a young Palestinian violin player. He recalls all the three women conversations from then, and recites it to the director along their journey, thus revealing Duras, Bausch and Nadir’s points of view and experiences of creation, each from her different method, perception and generation. Step by step the director is becoming more interested in the driver’s story and point of view, while at the same time doubts and thoughts around her movie, are becoming more and more present. In addition, on certain moments she has visions, of a dancer in a forest, which is the phantom of Nadir, dancing in the woods. Those dance parts, interweaving references from Bausch’s creation and the director’s process and involvements during her journey.
In parallel to the journey of the director and the driver during this day, we also see the actor, who’s arrived to the forest much earlier that day, and passes the day in the forest, waiting for the director to arrive. The actor wonders around the forest, his movements becoming more and more of a dance then everyday actions. A dance that represents the internal and intellectual processes the director is going through on her journey that day. When the evening comes they finally arriving at the forest. By that time the director knows that for her this film is impossible, that the war is closer to the silence of Nadir then to any film she’ll make