![\"\"](\"https:\/\/www.whw.hr\/wp-content\/uploads\/2026\/10\/Requiem-for-M-Balloons.jpg\")
Requiem for M<\/strong> The Melancholy of this Useless Afternoon II<\/strong> The Eyes That Never See<\/strong> The Insurgence of Ghibli Winds<\/strong> This essay film returns to 1911, when an Italian pilot flying over Libya threw four grenades in what would be, in effect, the first aerial bombing from a manned airplane. From this inaugural strike, the film moves through a century of air power, from early experiments in desert domination to Cold War\u2013era video games styling Libya and the Sahel as playable battlefields. It traces how skies and sands were turned into laboratories for imperial warfare and its gamified afterlives, quietly echoing the long chain of massacres carried out by aerial bombardment\u2014from colonial Libya to today\u2019s attacks on Gaza.<\/p>\n ***<\/p>\n Aziza Harmel <\/strong>is an independent curator and writer based in Tunis. A tutor at the Dutch Art Institute, she is currently co-curator of Hosting Lands<\/em>. This alternative exhibition and research program seeks to ‘hack’ art funding in order to set up long-lasting infrastructures of care for both communities and land, as well as facilitating trans-local collaborations with a focus on environmental justice.<\/p>\n The screening is a part of the film and video program Remember Freedom: Images of Resistance. <\/em>The program will be held in English.<\/p>\n Many thanks to Kino Kinoteka.<\/p>\n The program is supported by: Over the course of one evening, four films drift through roads, borders, and desert skies to trace how violence settles into bodies, atmospheres, and earth. Grief here factors not only as part of the aftermath but also as a form of pressure and resistance. Threaded through these films is the question of agency in a […]<\/p>\n","protected":false},"author":2,"featured_media":5587,"menu_order":0,"template":"","meta":{"footnotes":""},"categories":[17],"tags":[1036,49,1027],"class_list":["post-5580","dogadjanja","type-dogadjanja","status-publish","has-post-thumbnail","hentry","category-ostalo","tag-aziza-harmel","tag-kino-kinoteka","tag-sjeti-se-slobode-slike-otpora"],"acf":[],"yoast_head":"\n
\n<\/strong>Kiri Dalena, Philippines, 7 min<\/em>
\n<\/em>A vigil for the victims of the 2009 Maguindanao massacre, this film returns to the dirt road along which journalists and civilians were led to their deaths. Refusing the closure of reportage, Dalena works in registers of grief and fury, letting testimony, landscape, and silence constellate into an indictment of the architectures of power that render such killings both thinkable and endlessly repeatable.<\/p>\n
\n<\/strong>Dina Mimi, Jordan\/Palestine, 2022, 12 min
\n<\/em>Shot in a clandestine, close-to-the-body style, this film follows the smuggling of goldfinches, their small bodies folded into handmade vests. The artist interweaves her imagery with footage from contraband seizures on the border of Jordan and the West Bank. The quiet choreography of hands, fabric, and birdsong reveals an economy in which tenderness and extraction are entangled.<\/p>\n
\n<\/strong>Dina Mimi, 2022, 12 min
\n<\/em>This short film centers on the story of Ram(z)l, a lonely working-class man who \u201cdies twice\u201d: once in life, and again, beneath the dust of an excavation pit in Jerusalem. As the settler state obsessively digs for ancient artifacts to support their claims of a new, more amenable origin story, The Eyes That Never See<\/em> dwells on what and whom such archaeology consigns to disappearance, tracing how the creation of official history necessitates the burial of other narratives.<\/p>\n
\n<\/strong>Tewa Barnosa, Warlab Trilogy <\/em>\u2013 <\/em>Chapter I, 24 min<\/em><\/p>\n![\"\"](\"https:\/\/www.whw.hr\/wp-content\/uploads\/2026\/10\/Screenshot-2025-08-09-at-17.37.01.png\")
\nOffice for Culture and Civil Society of the City of Zagreb
\nKultura Nova Foundation
\nCroatian Audiovisual Centre (HAVC)<\/p>\n","protected":false},"excerpt":{"rendered":"