一百步

The camera wanders through two stately homes – an aristocratic country estate in Ireland and a grand bourgeois mansion in Marseille – both of which are now open to the public as museums. Little by little, visitors reveal themselves to be performers. Their music acts as ephemeral occupations of these loaded settings, denying a simplification of “European” and “Other”, pivoting the power relations of who is doing the telling and who must listen. The film offers a new approach to negotiating the past, the consequences of this past and the present.