Cinema of exhibition? Autobiographical cinema? Never mind the definitions, a new kind of cinema is being invented by Clarisse Hahn, who mixes genres. (…) Her camera is like an extension of her body in the way she negotiates the world. But wether she is exploring her own family or evoking a protesting tribe across the ocean, it’s all a matter of fiddling the right distance.

Catherine Millet. Clarisse Hahn: People on the line. Art press, septembre 2012

Clarisse Hahn questions the codes associated with the “being-together”. Not only by filming communities the rites of which she examines in details, but by disrupting the contemplator/contemplated relation. (…) Clarisse Hahn has been studying the body in its intimate and social dimension. (…) She directly disrupts her shows, confronting violent scenes while establishing emotional relations with her protagonists. Although her body is rarely involved, she does not cease to “imperil her value system”. An involvement that allows a more immediate freeing of speech. With her way of approaching reality, she explores a new route: a route that nevertheless remains truly documentary, although it appears to be pushed to its outer limits, because it welcomes its transgressions. (…) Through her balancing act on the borderline by which she upsets our relation to the world, the protocols of contemporary art (the ambulatory habits) and the documentary devices (which she freely rearranges), she takes part in bringing about the necessary changes in the genres without ever confusing them.

Kurdishlover
2010
full lenght film, duration: 90 minutes
languages: Kurde, Turc, French / subtitles: english, french
producted by : les films du présent, avanton oy production, 24 images

"The Kurdish lover is Oktay, a man of Kurdish origin with whom I share my life. We have been drifting through a devastated region brought to a standstill by war and economic misery. How do people manage to co-exist in this place? This is the question posed by the film.

Here we live in close proximity to one another, in a tightly woven network of geographical and social ties. Loving someone can become confused with having a hold over them. It is with an often black humour that the characters featured in this film find ways, within their community, to affirm that they truly exist. A shaman goes into trance in front of the television, sex-starved hermit dreams of marriage, a ewe is sacrificed and eaten, an old woman prevents her daughter-in-law from learning to read, a shepherdess lives at the top of the mountain and would like to return to the valley, the military watch over the village, a man who came from Europe goes off to request the hand in marriage of a young girl living with her mother. It is through these situations that we discover the reality of families doing what they can to find a way of living together, to take the best – or the worst – from each moment." - Clarisse Hahn -