Private Project

There is no war to my sky no hell to my land

There is no war to my sky no hell to my land are the words pronounced on the first images of the film, those of a living body where the images of a destroyed and rebuilded Beyrouth flow, with its people and moments of magnificent and fragile life. The architecture of buildings joins the architecture of the body itself in a constant state of transformation and metamorphosis. Our primary house, which is the body, welcomes the other constructions, abandoned or in ruins, new or in development.Juxtapositions of architectures, vision and souls, stratifications of the past on the body of a woman who breathes in another present. One into another, in a remote and at the same time joint dialogue. They are not tattoos but caresses; the memories of the past, are deleted, they overlap intentions and aims. The hand contains the leaves and shades of the tree, fireworks shines on the neck, the sea moves on the back, the woman becomes the sea where a night fisherman sails. On these shifts of topographies, history and times, the words are entwined. The incipit sets the tone, the conclusion confirms it. To go beyond the idea of the war, to surpass the destruction and death like final result and fall, are a choice of life. The cultural resistance is due to that, to maintain the window open. And all these demons, these viruses, all that filth and abyss, a vital and stormy change can transform all these things into allies.

  • Coquelicot Mafille
  • Vespertine Henne
  • Project Title (Original Language):
    Il n'y a pas de guerre à mon ciel pas d'enfer à ma terre
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  • Runtime:
    6 minutes 30 seconds
  • Completion Date:
    March 20, 2016
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Director Biography - Coquelicot Mafille, Vespertine Henne

Coquelicot Mafille/Vespertine Henne (b.1976) practice is based on observations of encounter, interaction and fusion between image and vision. Their projects examine in particular the relationship with everyday society, identities and connections between images and social behaviour. They are interested in considerations of the possibility and impossibility of vision, or how images and visions in general can be practised any more today and exploring the life-span and cycles of an image and its topic.

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