Radical matter-of-factness in the film, 'Four Parts of Folding Screen’.

Shot in Berlin, this feature-length work foretells of, relates and recalls the routine injustices of Nazi bureaucracy employed to deprive a woman of her citizenship and to guarantee the legalised acquisition and public auction of her family’s belongings – raising money for the regime and funding the war. The film, reflexively, makes tangible a comparison between its use of archive material and the archiving (and in some ways rather bureaucratic) nature of working with digital video. The resulting slow but rhythmical structure of the film, mapping everyday spaces of the city, invites the viewer to reject the tease of jeopardy and the impetus of a quest (there is no drama, no lost object found or even searched for, no sense of imminent salvation). This presentation explores the film’s quietly radical form and mode of address – and the conviction of its own bureaucratic and routine ‘matter-of-factness’ towards achieving some sort of revelation for the losers in history, slipping time frames to address the oppression of the present as well as that of the past. The film was made in equal partnership between its two makers.