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  • À l’usage des vivants
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  • Language French
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part of
double bill #4

À l’usage des vivants

Pauline Fonsny, Belgium, 2019, 27’

In 1998, Semira Adamu, a 20-year-old Nigerian immigrant, died on Belgian soil of suffocation under a police pillow. Twenty years later, two women tell her story in a cry for justice. Through this film, they highlight the reality of detention centres: the harsh conditions of confinement, the suffering of detainees and the abuse by guards and police officers.

À l’usage des vivants (Pauline Fonsny, 2019)
À l’usage des vivants (Pauline Fonsny, 2019)
essay
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In the Margins

Pauline Fonsny’s À l’usage des vivants

Inge Coolsaet
11.11.2022

On September 22, 1998, the young Nigerian asylum seeker Semira Adamu died during a violent deportation attempt. Fleeing a forced marriage, she arrived in Belgium, where she was detained for several months. Searching for the right formal fit for the story Adamu can no longer tell herself, Pauline Fonsny meticulously strings together archival material with contributions from other artists. It can be said to a certain extent that A l’usage des vivants, by gleaning input within a small community of mourning artists and activists, is an example of collective filmmaking.

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Credits

Script
Maïa Chauvier, Martin Lamand, Pauline Fonsny
Cast
Céline de Vos, Maïa Chauvier, Obigaeli Okigbo
Camera
Adrien Lengrand, Lou Vernin, Pauline Fonsny, Pierre de Wurstemberger
Editor
Ismaël Joffroy Chandoutis, Pauline Fonsny, Rudi Maerten
Sound
Alice Lemaire, Jean-Noël Boisse, Michel Bystranowski, Nathan Foucray
Producer
Alice Lemaire
Production
Contre-ciels
74

This film is part of yanco’s streaming library

essay experimental documentary politics history

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The Stopover

Collectif Faire-part, Belgium, DR Congo, 2022, 14’

Filmmakers Paul Shemisi and Nizar Saleh embark on a journey from the Democratic Republic of Congo to Germany to screen their latest film. However, during a layover in Angola, their trip takes a harrowing turn when airport authorities question the authenticity of their documents.

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The White Elephant

Shuruq Harb, Palestine, 2018, 12’

Using images shared on the Internet by Israelis during the Gulf War, the First Intifada, and trance music gatherings, Shuruq Harb paints the portrait of a Palestinian teenager in the 1990s. In the midst of Israeli pop culture and the political climate of the Oslo Accords, she comes to grips with her anxiety.

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Akaboum

Manon Vila, France, 2019, 30’

A portrait of contemporary suburban youth seeking to invent new contours of collective identity, against the backdrop of France in the throes of recession.

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The Migrating Image

Stefan Kruse Jørgensen, Denmark, 2018, 28’

Following a fictional group of refugees across Europe, the film questions the overproduction of images surrounding real-life tragedies and deaths.

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what else grows on the palm of your hand?

Dhiaa Biya, Morocco, Belgium, 2023, 16’

The routines of two women fuse together over time. One is busy with her bread, the other with her memories. Their similar gestures, repeated again and again, slowly unfold the special bond that unites them.

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Trains de plaisir

Henri Storck, Belgium, 1930, 8’

The beach and its sunbathers. A series of sketches, small moments that culminate in a wry, loving portrait of a Sunday at the beach.

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This Day Won’t Last

Mouaad el Salem, Belgium, Tunisia, 2020, 25’

In this urgent diary film about longing for freedom and community, the filmmaker reflects on the individual yet collective experience of growing up queer in Tunisia today.

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Blow Up My Town

Chantal Akerman, Belgium, 1968, 13’

A young woman, played by Chantal Akerman herself, enters her flat in Brussels and begins a household routine that gradually degenerates. Parodying the everyday, she mops the floor, polishes her shoes, and sticks tape over the cracks in the door, thereby giving domestic life an explosive twist.

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