Cine-Guerillas

The scouts

Everyone wants to talk about decolonization and resistance, but Turajlić's actual move—treating Labudović's found footage as a competing archive, a document that *undermines* its own propagandistic intent—feels genuinely subversive in ways most political docs aren't brave enough to attempt.

A rigorous essay-film that positions itself squarely in the lineage of archive-based inquiry (Farocki, de Villiers) while interrogating cinema's complicity in state power; the formal restraint of letting the reels speak for themselves, without didactic narration, is exactly the kind of curatorial decision that separates thinking documentarians from activists with cameras.

The decision to let silences and film grain carry as much weight as the footage itself—to trust the audience to sit with ambiguity rather than resolve it—transforms what could've been a straightforward historical reclamation into something that asks harder questions about whose cinema gets preserved and why.