Marwa Arsanios’ trilogy Who Is Afraid of Ideology? weaves an intersectional path through the struggles of women − in places such as Northern Syria and Colombia − to claim the right to the land and to reconnect with nature in an unmediated way. Part 3 Micro Resistancies takes place in Tolimo, and focuses on the ongoing systemic war waged by transnational corporations against the smallest and the most essential element of life − the seed.

- Film is a third chapter in a series of films which was started back in 2017 when the filmmaker met two women from the Kurdish Autonomous Movement. 

-Exploration of the intersectional and feminist paradigms and political connections between the two and how they cannot be divided, they come hand in hand 

- Film inspired by a text by Pelchine.

- Work pivots on the theme of  communalising land and the move from private property to communal properties.

- Interest in finding a way to build alliances between the likes of communes and co-operatives with women coming from different geographical platforms but all with similar struggles and views on politics despite political contexts and conditions from which they came from 

- Questions of seeds, relationship to agriculture, new ways of thinking that counter industrial agriculture- similar strategies of tackling these questions adopted by the women involve d

- Entanglement of survival of the entity and the people and the person who is trying to fight for it  and also in relation to land. These connections and clear fact that we can only survive if these other entities also survive. 

- Structure of the film is guided bu different layers and languages, all part of the conversation between the female participants using storytelling and face-to-face interviews and the artist's voice over on a 'meta' level.

- Importance of bringing in the artificiality into the other landscape shots seen throughout the film, a direct documentary approach which presented a moment to question the visual regimes that the artist is using in the series of films.

- Subject matter was 'asking' for a documentary approach, in the third chapter this language was rethought and questioned why there was a need to go into a direct style of filming . 

- Consideration for macro perspectives of landscapes and how do you film the small entities of environments, what visual regimes does one need to step in to talk about these subjects?

- The production of the image and the editing process need to be transparent and need to come in and be part of the film, positioning the artist as the one as filming and directing in relation to the subject matter and in relation to the political movements and organisations as coming in from the outside to learn from these movements and strategies. 

- The fact that you are already making and thinking and believing that your film can do something, the artist states is interesting for the fact that it offers an opportunity to make a memory, a memorial of time- in this case how the seeds won't be preserved or accumulated. 

- Filmmaker has a responsibility to think about the question of history and think how it is rewritten and repurposed for new ways of producing new, systemic changes as interventions in historical moments. 

Watch the full interview here:

Using Format