[{"data":1,"prerenderedAt":2392},["ShallowReactive",2],{"heading-languages":3,"home-films-of-week-eu-fr":10},[4],{"__typename":5,"id":6,"active":7,"isoCode":8,"name":9},"Language","1",true,"FR","Français",{"films":11,"programmations":1702,"tabs":2390,"forceShowTitle":7},[12,1032],[13,269,424,644,843],{"id":14,"title":15,"descriptionShort":16,"description":17,"slug":18,"metaTitle":15,"metaDescription":19,"metaKeywords":20,"metadatas":21,"images":50,"otherImages":51,"dateAdd":52,"dateUpd":53,"cover":54,"loaded":7,"pathPrefix":55,"dateFrom":56,"dateTo":57,"tags":58,"bookmarked":71,"position":72,"type":73,"category":74,"categories":107,"importantCategories":191,"programmator":228,"directors":237,"extracts":242,"videos":245,"accessModes":255,"accessTypes":259,"SVODaccessMode":260,"year":24,"time":30,"timeFormatted":261,"country":27,"hd":71,"language":33,"subtitles":9,"productor":41,"dayRemaining":262,"order":106,"directorsName":240,"path":263,"categoriesName":264,"resume":38,"isExpired":71,"isAvailable":7,"videoBonus":265,"directorsId":266,"actorsId":267,"isSvod":7,"isVOD":71,"isFree":71,"isRentable":7,"isSerie":71,"isSME":71,"sacem":71,"scam":71,"cnc":71,"showMobileDetail":71,"isAvailableInCountry":106,"brouillonDunReve":71,"ohMyDoc":71,"cnap":71,"avisTitre":268},4563,"Life and Debt","Ce portrait désenchanté de la Jamaïque accompagne les touristes américains qui déferlent sur l'île sans même se rendre compte du dénuement de sa population et du délabrement de son économie. Très vite, on découvre les coupables de cet enfer des tropiques : le FMI, la Banque mondiale, l'OMC...","\u003Cp>\u003Cem>Life and Debt\u003C/em> est sans détour et pour le moins efficace. L’efficacité, on peut bien souvent s’en méfier ou la regretter dans le cinéma documentaire mais, ici, le rythme acéré du montage correspond à l’urgence de convaincre et de mettre en lumière les rouages économiques auxquels a été soumise la Jamaïque. Il accentue la compréhension du piège qui contraint aujourd’hui le pays à un endettement intenable auprès du FMI et de la Banque Mondiale. Une dette qui ne cesse de s'accroître tandis que la Jamaïque devient de plus en plus exsangue. À cela s’ajoute l'indécence du surtourisme qui participe à ce même mouvement de mise à genoux du pays. Le texte \u003Cem>A Small Place\u003C/em> de Jamaica Kincaid, en off, renforce justement cette critique. Enfin les moments musicaux tiennent une place tout à fait particulière. La dimension contestataire et la vitalité du reggae y expriment pleinement le maintien d’une culture propre à l’île et à ses habitants et la force de leur résistance.\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp style=\"text-align: right;\">Sophie Walle\u003Cbr />\r\nChargée de diffusion à Périphérie\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n","life-and-debt","Ce portrait désenchanté de la Jamaïque accompagne les touristes américains qui déferlent sur l'île sans même se rendre compte du dénuement de sa population et du délabrement de son économie. Très vite, on découvre les coupables de cet enfer des tropi","jamaïque,économie,fmi,documentaire,documentaire,2003,stéphanie black,tënk",[22,25,28,31,34,36,39,42,45,47],{"key":23,"value":24},"Année","2003",{"key":26,"value":27},"Pays","Royaume-Uni",{"key":29,"value":30},"Durée","85",{"key":32,"value":33},"Langue","Anglais",{"key":35,"value":9},"Sous-titres",{"key":37,"value":38},"Résumé court","Un décryptage des effets pervers de la mondialisation sur l'industrie et l'agriculture jamaïcaines. Où les coupables se nomment FMI, Banque mondiale, OMC...",{"key":40,"value":41},"Producteur","Tuff Gong Picture, Stephanie Black",{"key":43,"value":44},"ID_allocine","50426",{"key":46,"value":6},"TLF_Applismb",{"key":48,"value":49},"Date édito","2026-10-23",[],[],"2026-09-28T11:20:36.000Z","2026-09-28T14:36:59.000Z","https://d1eg2pfkb4bemp.cloudfront.net/img/p/5/8/3/0/5830.jpg","/documentaires","2026-10-02T00:00:00.000Z","2027-02-06T02:00:00.000Z",[59,62,65,68],{"id":60,"name":61},147,"Économie",{"id":63,"name":64},2495,"Documentaire",{"id":66,"name":67},2760,"Jamaïque",{"id":69,"name":70},4325,"FMI",false,0,"TVOD",{"id":75,"title":76,"descriptionShort":77,"description":78,"slug":79,"metaTitle":76,"metaDescription":80,"metadatas":81,"otherImages":85,"dateUpd":86,"loaded":71,"pathPrefix":77,"parent":87,"hisMainImage":77,"path":105,"partners":84,"isCoeur":71,"isSection":71,"isEvent":7,"isTheme":71,"isForme":71,"isTransverse":71,"isDiscipline":71,"isTraversee":71,"isMainEvent":71,"isUnderEvent":71,"isHome":71,"isFeminin":71,"isEmpty":7,"showArchive":71,"couverture":104,"type":106,"hideLogo":7,"sacem":71,"scam":71,"ohMyDoc":71,"cnap":71,"richDescription":71,"brouillonDunReve":71},611,"Tuer encore Magellan ?","","\u003Cp>Pour la dernière Escale des 10 ans de Tënk, voici une programmation, conçue en partenariat avec Périphérie, de films d’horizons et de périodes diverses qui, tous, travaillent avec bonheur à décoloniser les regards et appellent à la résistance.\u003C/p>\r\n\r\n\u003Cp>Les figures du feed-back, du partage et du retournement des regards ; la réappropriation des représentations, des récits et des gestes ; la dénonciation des violences et des oppressions des corps et des destins se déploient, portés par des femmes et des hommes en lutte.\u003C/p>\r\n\r\n\u003Cp>La pensée de Malcom Ferdinand qui signe le texte qui accompagne cette escale a été notre guide. L’auteur d’\u003Cem>Une écologie décoloniale\u003C/em> et de \u003Cem>S’aimer la Terre : défaire l’habiter colonial\u003C/em>, y démontre la nécessité absolue pour ces luttes d’être liées : sociale et féministe, écologique et décoloniale afin de réconcilier humains et non humains et composer ce « navire-monde », exact opposé du régime du bateau négrier sur lequel s’est construite une prospérité prédatrice, mortifère et désormais, non seulement condamnable, mais condamnée.\u003C/p>\r\n\r\n\u003Cp style=\"text-align: right;\">Corinne Bopp\u003Cbr />\r\nResponsable des Rencontres du cinéma documentaire à Périphérie et enseignante\u003C/p>\r\n\r\n\u003Chr />\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp style=\"text-align: center;\">\u003Cstrong>Comment tuer Magellan ? Réflexion à partir de cinq films.\u003C/strong>\u003C/p>\r\n\r\n\u003Cp style=\"text-align: center;\">Par Malcom Ferdinand\u003C/p>\r\n\r\n\u003Cp style=\"text-align: center;\">\u003Ca href=\"https://medias.tenk.fr/partners-editorial/comment-tuer-magellan-par-malcom-ferdinand.pdf\">\u003Csup>Vous pouvez télécharger ce texte ici\u003C/sup>\u003C/a>\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>L’habiter colonial en héritage\u003C/strong>\u003C/p>\r\n\r\n\u003Cp style=\"margin-left: 40px;\">« Allons-nous être capable de tuer une nouvelle fois Magellan ? » telle est la question posée par une jeune femme dans le film \u003Ca href=\"https://on-tenk.com/fr/documentaires/tuer-encore-magellan-/bulakna\">\u003Cem>Bulakna\u003C/em>\u003C/a> de Léonor Noivo (2025) lors d’une reconstitution théâtrale de la bataille entre les troupes de Magellan et celles du chef Lapulapu de l’île de Mactan en 1521. Une île qui aujourd’hui fait partie de l’archipel des Philippines. Telle est l’interrogation collective reformulée dans cinq contextes différents (Martinique, Philippine, Jamaïque, Palestine et Amazonie du Nord-ouest du Brésil) par les films choisis par Tënk et Périphérie pour cette programmation. Dans sa tentative de circumnavigation de la Terre, ledit « explorateur » portugais Fernand Magellan traversa l’Atlantique, passa par le désormais « détroit de Magellan » au sud de l’Amérique du Sud, puis traversa l’océan Pacifique qu’il nomma ainsi, avant de se retrouver, sur l’île de Mactan, au sein d’une lutte entre différents peuples autochtones. Magellan pensait qu’avec 60 hommes portant des armures, il pourrait mettre en échec le peuple mené par Lapulapu et sa reine Bulakna, armés de simples flèches. Mais ne-voilà-t-il pas, que l’explorateur-colon, enorgueilli d’une présomption de supériorité de sa science se trouve défait. Une flèche empoisonnée mit fin à la tentative de Magellan de totaliser la Terre en une planète. La première circumnavigation de la Terre, elle, sera accomplie par l’homme acheté et réduit en esclavage par Magellan qui lui servait d’interprète : Henrique de Malacca. Aucun détroit ne porte son nom, aucun océan ne fut nommé par lui.\u003C/p>\r\n\r\n\u003Cp style=\"margin-left: 40px;\">Victoire, dira-t-on ! Oui, victoire… mais de courte durée. Les décennies qui ont suivi ont vu d’autres défilés d’explorateurs, de colons, de guerres, de prises de terre, de christianisations forcées, dans le Pacifique comme dans les autres coins du monde. Imposition de noms, et surtout imposition d’une manière d’habiter la Terre qui subordonne les existences, les pratiques, les savoirs, les vies autochtones, leurs paysages et leurs dites ressources aux palais, aux désirs, aux industries de l’Occident. Les colonisations et impérialismes qui ont suivi n’ont fait que renforcer ces inégalités. Cet habiter colonial établit une hiérarchie des représentations entre nord et sud global, entre hommes et femmes, entre occidentaux, chrétiens Blancs et autochtones non chrétiens tout en exploitant ces espaces encore aujourd’hui. Sous couvert d’aide au développement ou d’œuvre humanitaire, cet imaginaire colonial du monde moderne structure encore l’échiquier international et ses institutions tels que le FMI et la banque mondiale.\u003C/p>\r\n\r\n\u003Cp style=\"margin-left: 40px;\">Les films \u003Ca href=\"https://on-tenk.com/fr/documentaires/tuer-encore-magellan-/life-and-debt\">\u003Cem>Life and Debt\u003C/em>\u003C/a> de Stephanie Black (2001), \u003Cem>Bulakna\u003C/em> et \u003Cem> \u003Ca href=\"https://on-tenk.com/fr/documentaires/tuer-encore-magellan-/tu-crois-que-la-terre-est-chose-morte\">Tu crois que la Terre est chose morte\u003C/a>\u003C/em> de Florence Lazar (2019), montrent bien comment les politiques d’aide au développement, malgré des « bonnes » intentions affichées maintiennent cette domination coloniale. En résulte un processus double où la déshumanisation des autochtones, des anciens colonisés et esclavisés par voie de diabolisation ou d’exotisme, va de pair avec une exploitation capitaliste et néolibérale de leur main d’œuvre et de leurs ressources. C’est une main d’œuvre jamaïcaine  accablée dans une « zone franche » pour un salaire de misère au profit des entreprises états-uniennes à l’ombre des hôtels réservés à un tourisme étranger. Tant pis si les agriculteurs et éleveurs locaux font faillite et ne permettent plus à un peuple de se nourrir de son île. C’est l’acheminement bien ficelé de jeunes filles philippines pour dédier leur vie aux tâches domestiques des foyers des classes bourgeoises en Europe et subir les violences au travail offertes à tant de personnes migrantes dans cette région. Tant pis si les familles sont déchirées, si les enfants grandissent sans leur mère et si la solitude finit par gagner l’intérieur de l’âme. C’est la banane antillaise qui amuse les langues en France hexagonale et en Europe, qui colore les marathons de Paris et tour de France. Tant pis si les aquifères, les fonds marins et les cordons ombilicaux antillais sont pollués pour des millénaires.\u003C/p>\r\n\r\n\u003Cp> \u003C/p>\r\n\r\n\u003Cp>\u003Cstrong>La flèche de la caméra\u003C/strong>\u003C/p>\r\n\r\n\u003Cp style=\"margin-left: 40px;\">Magellan a été tué en 1521 et pourtant son imaginaire, tel une ombre géante, transforme encore la chaleur du jour en froide obscurité d’une nuit sans fin. Quel rôle peut bien jouer la caméra aujourd’hui contre Magellan ? L’une des plus grandes forces de ces films, par la douceur de leurs caméras, a été de montrer des résistances discrètes, mais puissantes. L’intimité de la transmission de langues, de cultures, de connaissances, de savoirs et de pratiques. Sur l’île Mindoro (Philippines), on apprend à pêcher, nettoyer et faire sécher des poissons en pleine zone humide. En Martinique, on apprend comment les variétés de menthes et de citronnelles, caressées du bout des doigts, défient la mécanique violente des plantations de la monotone banane Cavendish. En Cisjordanie dans l’un des trajets entre Hébron et Karma, forcés par la répression sanguinaire de l’armée israélienne des aspirations à la dignité des Palestiniens, une mère enseigne à ses enfants les noms de « tout ce qui pousse » (narcisses, térébinthes, thym, chênes et aubépines). Dans\u003Cem> \u003Ca href=\"http://on-tenk.com/fr/documentaires/tuer-encore-magellan-/je-me-suis-deja-transforme-en-image\">Je me suis déjà transformé\u003C/a>\u003C/em>\u003Ca href=\"http://on-tenk.com/fr/documentaires/resistances-decoloniales/je-me-suis-deja-transforme-en-image\"> \u003Cem>en image\u003C/em>\u003C/a> de Zezinho Yube (2008), les Hunikuis racontent par des danses, des chants et des livres scolaires dans leur langue, l’histoire et les manières d’habiter la Terre pratiquées par leur peuple avant la rencontre avec les « Nawas » (les Blancs). Des résistances à travers le rire moqueur qui dessinent une légèreté là au milieu de la lourdeur d’un monde inique.\u003C/p>\r\n\r\n\u003Cp style=\"margin-left: 40px;\">Si la caméra peut documenter ces résistances, peut-elle pour autant devenir flèche ? Plus encore, de qui serait cette flèche ? Certains films, comme \u003Cem>Je me suis déjà transformé en image\u003C/em>, font l’exercice de faire porter la caméra aux peuples héritiers de Lapulapu et Bulakna. Passant dans des mains non expertes de l’outil, elle devient une mémoire, une archive \u003Cem>pour la communauté \u003C/em>en résistance. Dans \u003Ca href=\"https://on-tenk.com/fr/documentaires/tuer-encore-magellan-/intersecting-memory\">\u003Cem>Intersecting Memories\u003C/em>\u003C/a>, la réalisatrice, Shayma' Awawdeh, réactive l’archive par sa voix et son expérience, faisant de l’image le papier à lettre de nos dignités. Parfois, les codes du métier font porter l’illusion que la réalisation et la production n’auraient pas de corps, que cette flèche n’aurait pas d’archer et qu’il serait possible de rester caché sur l’île de Mactan à l’écart de ces luttes contre une domination coloniale. Comme si la réalisation nourrissait le mirage d’une transmutation naïve vers l’innocence. Comment faire pour que l’image, quand bien même elle serait résistante ne serve pas, malgré elle, à ressusciter l’autorité référentielle des Magellan au détriment de celle des Henrique ? Tel est aujourd’hui, me semble-t-il, la tâche pressante face à cette histoire coloniale pluriséculaire : mettre en œuvre une pratique filmique qui, par ses images, ses productions, ses réalisations et ses circuits de distribution, puisse manifester une autre manière de faire monde.\u003C/p>\r\n","tuer-encore-magellan-","Pour la dernière Escale des 10 ans de Tënk, voici une programmation, conçue en partenariat avec Périphérie, de films d’horizons et de périodes diverses qui, tous, travaillent avec bonheur à décoloniser les regards et appellent à la résistance. Les f",[82],{"key":83,"value":84},"Partenaire","\u003Cp>\u003Ca href=\"https://www.peripherie.asso.fr/\">\u003Cimg src=\"https://d1eg2pfkb4bemp.cloudfront.net/img/cms/210727_PERI-logo-04-vectg.png\" style=\"height: 90px; width: 179px; margin: 5px 15px; float: left;\" />\u003C/a>Périphérie est créée en Seine-Saint-Denis au début des années 80 par Jean Patrick Lebel et Claudine Bories pour promouvoir le cinéma documentaire. Elle s’impose rapidement comme un lieu de création singulier pour les professionnel·les. Connue pour sa résidence de montage, elle offre un appui technique et artistique aux cinéastes et un apport en industrie aux productions.\u003C/p>\r\n\r\n\u003Cp>Périphérie organise par ailleurs \u003Cem>Les Rencontres du cinéma documentaire\u003C/em>, festival non compétitif et thématique, qui se déroulent chaque année au cinéma Le Méliès à Montreuil.\u003C/p>\r\n\r\n\u003Cp>L’association rassemble également un fonds d’archives « la mémoire et les images en Seine-Saint-Denis » qui participe de ses actions de diffusion sur le département. Enfin, Les Observatoires documentaires proposent à des professionnel·les de filmer et documenter leur quotidien au travail.   \u003C/p>\r\n",[],null,{"id":86,"title":88,"slug":89,"metadatas":90,"otherImages":102,"dateUpd":86,"loaded":71,"pathPrefix":77,"slogan":93,"hisMainImage":77,"path":103,"isCoeur":71,"isSection":71,"isEvent":7,"isTheme":71,"isForme":71,"isTransverse":71,"isDiscipline":71,"isTraversee":71,"isMainEvent":7,"isUnderEvent":71,"isHome":71,"isFeminin":7,"isEmpty":7,"showArchive":71,"couverture":104,"type":72,"hideLogo":7,"sacem":71,"scam":71,"ohMyDoc":71,"cnap":71,"richDescription":71,"brouillonDunReve":71},"Escales","escale",[91,94,96,98,100],{"key":92,"value":93},"Catégorie Slogan","Chaque mois, une pause thématique en partenariat avec La Cinémathèque du Documentaire.",{"key":95,"value":6},"Evenement",{"key":97,"value":6},"est_feminin",{"key":99,"value":6},"Cacher logo",{"key":101,"value":6},"Explorer",[],"/undefined/escale","/_nuxt/tenk-background.DVcX__9V.jpeg","/escale/tuer-encore-magellan-",1,[108,120,137,163,178],{"id":75,"title":76,"descriptionShort":77,"description":78,"slug":79,"metaTitle":76,"metaDescription":80,"metadatas":109,"otherImages":111,"dateUpd":86,"loaded":71,"pathPrefix":77,"parent":112,"hisMainImage":77,"path":105,"partners":84,"isCoeur":71,"isSection":71,"isEvent":7,"isTheme":71,"isForme":71,"isTransverse":71,"isDiscipline":71,"isTraversee":71,"isMainEvent":71,"isUnderEvent":71,"isHome":71,"isFeminin":71,"isEmpty":7,"showArchive":71,"couverture":104,"type":106,"hideLogo":7,"sacem":71,"scam":71,"ohMyDoc":71,"cnap":71,"richDescription":71,"brouillonDunReve":71},[110],{"key":83,"value":84},[],{"id":86,"title":88,"slug":89,"metadatas":113,"otherImages":119,"dateUpd":86,"loaded":71,"pathPrefix":77,"slogan":93,"hisMainImage":77,"path":103,"isCoeur":71,"isSection":71,"isEvent":7,"isTheme":71,"isForme":71,"isTransverse":71,"isDiscipline":71,"isTraversee":71,"isMainEvent":7,"isUnderEvent":71,"isHome":71,"isFeminin":7,"isEmpty":7,"showArchive":71,"couverture":104,"type":72,"hideLogo":7,"sacem":71,"scam":71,"ohMyDoc":71,"cnap":71,"richDescription":71,"brouillonDunReve":71},[114,115,116,117,118],{"key":92,"value":93},{"key":95,"value":6},{"key":97,"value":6},{"key":99,"value":6},{"key":101,"value":6},[],{"id":121,"title":88,"descriptionShort":122,"description":77,"slug":89,"metaTitle":77,"metaDescription":77,"metadatas":123,"otherImages":129,"dateUpd":130,"loaded":71,"pathPrefix":77,"parent":131,"slogan":93,"hisMainImage":77,"path":136,"isCoeur":71,"isSection":71,"isEvent":7,"isTheme":71,"isForme":71,"isTransverse":71,"isDiscipline":71,"isTraversee":71,"isMainEvent":7,"isUnderEvent":71,"isHome":71,"isFeminin":7,"isEmpty":7,"showArchive":71,"couverture":104,"hideLogo":7,"sacem":71,"scam":71,"ohMyDoc":71,"cnap":71,"richDescription":71,"brouillonDunReve":71},214,"Faire résonner des films les uns avec les autres, penser leurs liens, creuser une thématique grâce au cinéma documentaire : c'est le but des Escales. 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Aujourd’hui, elle continue de s’impliquer dans ce projet, notamment en tant que membre du comité de programmation des sections compétitives et pour la programmation sonore.\u003C/p>\r\n","barberine-feinberg",[605,608],{"key":606,"value":607},"genre","femme",{"key":609,"value":610},"data","[[comite]]",[],[613,614],{"key":606,"value":607},{"key":609,"value":610},[616],{"id":617,"title":618,"otherImages":619,"dateUpd":86,"loaded":71,"pathPrefix":77,"name":618,"isClickable":71,"genre":235,"isComite":71},2984,"Leonor Noivo",[],[621],{"id":622,"dateAdd":86,"dateUpd":86},"3875",[624,630],{"id":625,"dateAdd":86,"dateUpd":86,"name":9,"description":77,"cover":626,"duration":86,"language":627},"6922","https://d1eg2pfkb4bemp.cloudfront.net/img/p/5/8/3/2/5832-cover_large.jpg",{"id":86,"name":628,"isoCode":629},"Filipino","FI",{"id":631,"dateAdd":86,"dateUpd":86,"name":33,"description":77,"cover":626,"duration":86,"language":632},"6923",{"id":86,"name":628,"isoCode":629},[634],{"type":257,"id":635,"priceNoDiscount":72,"price":72,"discount":72,"priceWithoutTaxes":86},16189,[257],{"type":257,"id":635,"priceNoDiscount":72,"price":72,"discount":72,"priceWithoutTaxes":86},"93'","/documentaires/tuer-encore-magellan-/bulakna","Tuer encore Magellan ?, Tous les films, Films de la semaine, Travail, Essais, Féminismes, Portrait, Escales, ",{},[617],[600],{"id":645,"title":646,"descriptionShort":647,"description":648,"slug":649,"metaTitle":646,"metaDescription":650,"metaKeywords":651,"metadatas":652,"images":675,"otherImages":676,"dateAdd":677,"dateUpd":678,"cover":679,"loaded":7,"pathPrefix":55,"dateFrom":56,"dateTo":57,"tags":680,"bookmarked":71,"position":177,"type":73,"category":695,"categories":707,"importantCategories":776,"programmator":809,"directors":814,"extracts":819,"videos":822,"accessModes":832,"accessTypes":835,"SVODaccessMode":836,"year":434,"time":657,"timeFormatted":837,"country":655,"composer":668,"hd":71,"language":659,"subtitles":442,"productor":666,"dayRemaining":262,"order":418,"directorsName":817,"path":838,"categoriesName":839,"resume":662,"isExpired":71,"isAvailable":7,"videoBonus":840,"directorsId":841,"actorsId":842,"isSvod":7,"isVOD":71,"isFree":71,"isRentable":7,"isSerie":71,"isSME":71,"sacem":7,"scam":71,"cnc":71,"showMobileDetail":71,"isAvailableInCountry":106,"filmDoc":664,"brouillonDunReve":71,"ohMyDoc":71,"cnap":71,"avisTitre":268},4566,"Intersecting Memory","En Palestine, dans les territoires occupés durant la Seconde Intifada, la peur, l'état de siège, la mort sont le quotidien de la ville d'Hebron. 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Face à ce désastre écologique, Florence Lazar recueille le témoignage de ceux qui défendent une autre agriculture et une meilleure connaissance de la nature. Une connaissance héritée du marronnage : la survie des esclaves en fuite dans la forêt.","\u003Cp>Dans la froideur d’un bâtiment industriel des régimes de bananes suivent le parcours balisé des étapes nécessaires à leur exportation. Nulle parole, aucune figure humaine pour atténuer le sentiment de profonde tristesse de cette vision. Lorsque l’on sort enfin à l’air libre ce sont des espaces désolés, des rangées de bananiers rachitiques et exsangues, comme sans vie, qui sont décrits.\u003Cbr />\r\nÀ ces images Florence Lazar oppose par le montage des femmes et des hommes au contact de la terre. 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