Terminal Sud

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Through a formidably minimal, politically sharp gesture, Ameur-Zaïmeche invents a radical dystopia – meaning, if we go back to the word’s roots, a non-country. By preventing us from identifying the territory where he shot the film, one full of signs and languages evoking the entire Mediterranean area, he creates an in-between that is at once full of conflicts and free of all obsessions with identity, and a shared space, that of class warfare, allowing for the appearance of true political subjects.