In Algerian Novel - chapter 2, French philosopher Marie-José Mondzain reinterprets Algerian Novel - chapter 1. The film’s nested structure is a way to keep images and their symbolic load at a distance. It opens a new space of negotiation wherein new associations can be shaped. They function as a starting point for the writing of a history in movement and produce narratives which then become touchstones for a new kind of historicisation. In the second part of this second chapter, Mondzain analyses another visual material: that of the rushes recorded during the shooting of the first chapter. These rushes could have been left invisible, or rather 'unseen'- the same way some of the Algerian’s historical figures are not represented on the pictures of the kiosk. In her book, L’image peut-elle tuer? [Can the image kill?], Mondzain defines the 'unseen' as what is waiting for meaning in the community debate. The unseen would then be a sort of unexploited archive, waiting for the gaze to expand.
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Chris and his girlfriend Rose go upstate to visit her parents for the weekend. At first, Chris reads the family's overly accommodating behavior as nervous attempts to deal with their daughter's interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he never could have imagined.
Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what's left of society into chaos.
The short documentary film-"tesaer" (later, based on the material, the director will shoot a full-length film) is based on the fate of the Floriculture Pavilion of the former Exhibition of Achievements of the People's Economy, and its elderly employee Valentyna Voronina, who maintains this space, investing her own life into it, until suddenly changes come to her.
