Weak Enough to Hear: A Deluge in Six Acts

Giving water and land voice, this video imagines activities along the Euphrates River over the span of a day. The storyline subtly references the murder of Ahmed Jabbar Kareem Ali, a 15-year-old boy drowned by British troops in 2003 after accused of looting in one of the tributaries of the Euphrates in Southern Iraq called Shatt al-Basra. His fictional ghost anchors the narrative by raising questions about power manifested by those who control access to the river and land, its resources and history.

  • Rouzbeh Akhbari
    Director
    A Passage (2019), Prizes from Fairyland (2018)
  • Felix Kalmenson
    Director
    A Passage (2019), Neither Country, Nor Graveyard (2017), The Taste of Real Bread (2017), A Mountain That Opens Like a Door and Closes Like a Mountain (2017), 43 (2016), A House of Skin (2016)
  • Project Type:
    Documentary, Experimental, Short
  • Runtime:
    39 minutes
  • Completion Date:
    January 10, 2019
  • Country of Origin:
    Iran, Islamic Republic of
  • Country of Filming:
    Turkey
  • Language:
    English, Turkish
  • Shooting Format:
    4K Video
  • Aspect Ratio:
    2.4:1
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Rouzbeh Akhbari, Felix Kalmenson

Rouzbeh Akhbari (Tehran, Iran 1992) is an artist working in video installation and film. His practice is research-driven and usually exists at the intersections of political economy, critical architecture and planning. Through a delicate examination of the violences and intimacies that occur at the boundaries of lived experience and constructed histories, Akhbari uncovers the minutiae of power that organizes and regiments the world around us.

Felix Kalmenson (Saint Petersburg, 1987) is an artist whose practice navigates installation, video and performance. Kalmenson’s work variably narrates the liminal space of a researcher’s and artist’s encounter with landscape and archive. By bearing witness to everyday life, and hardening the more fragile vestiges of private and collective histories through their work, Kalmenson gives themselves away to the cadence of a poem, always in flux.

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