Detours

“an experimental documentary shot in Lebanon from 2019 to 2021 dealing with issues of dislocation, points of view and memory. Through the position of ‘peripheral vision’, which I practice as an observer, Detours builds a narrative of sensory impressions, orientations, alienated images, images that remain outside of the frame. The work is not a documentation or analysis of current policies and turbulent events but an experience of disorientations within them. The film was shot using Super 8, still analog cameras, digital cameras and various lenses.” - Vida Guzmić. “an experimental documentary shot in Lebanon from 2019 to 2021 dealing with issues of dislocation, points of view and memory. Through the position of ‘peripheral vision’, which I practice as an observer, Detours builds a narrative of sensory impressions, orientations, alienated images, images that remain outside of the frame. The work is not a documentation or analysis of current policies and turbulent events but an experience of disorientations within them. The film was shot using Super 8, still analog cameras, digital cameras and various lenses.” - Vida Guzmić. “an experimental documentary shot in Lebanon from 2019 to 2021 dealing with issues of dislocation, points of view and memory. Through the position of ‘peripheral vision’, which I practice as an observer, Detours builds a narrative of sensory impressions, orientations, alienated images, images that remain outside of the frame. The work is not a documentation or analysis of current policies and turbulent events but an experience of disorientations within them. The film was shot using Super 8, still analog cameras, digital cameras and various lenses.” - Vida Guzmić. “an experimental documentary shot in Lebanon from 2019 to 2021 dealing with issues of dislocation, points of view and memory. Through the position of ‘peripheral vision’, which I practice as an observer, Detours builds a narrative of sensory impressions, orientations, alienated images, images that remain outside of the frame. The work is not a documentation or analysis of current policies and turbulent events but an experience of disorientations within them. The film was shot using Super 8, still analog cameras, digital cameras and various lenses.” - Vida Guzmić.