The film is called Speech Act. It’s a monologue by an actor, and he’s talking about Avatar. If you watch closely Avatar, then it turns out that there is a lot of Africa in there – it’s rehashing this myth of the white man that goes to the jungle and helps out the native people there. [Foreign language spoken]Why is a film like that so popular, and what does it tell us about the world today, and about the world to come?[Foreign language spoken]My idea is that this film-maker is actually more than a film-maker; it’s also a businessman. He tries to come up with a world that refers to Africa, but maybe also to south-east Asia and other parts of the world, I think in order to come up with a global product that many, many people can enjoy. All of that is addressed in that monologue; not in an academic or analytical way, but in a more poetical.[Foreign language spoken]What you will see is a dancer dancing, and the camera films her, but the reel of the 60mm film is just three minutes, so after three minutes the image stops because the reel is finished, but you do hear her continuing dancing. It’s a play with a kind of absence and presence of sounds; an image. One of the things that is important for me is that you are engaged with the film, and on the other hand you are aware that it’s a construction of those sounds and images, so that you are aware that you are projecting your imagination on that, so that you are aware that you are filling the gaps, so to say, of what I’m taking away all the time. So it’s a way of playing with absence, presence, memory, in different ways.I made Night Visitor from clips that I have come across on YouTube. They are all videos shot on mobile phones by people who entered one of the State Security offices in Cairo around March 2011. I was interested in how people access the space, how they deal with the space, how they talk about it and how they film it. I was interested not in the kind of usual images that come out of these break-ins – like, I was not interested in the files, the torture, objects, things like this, but I was interested in how people look at objects of power, even if they are like statues, pictures, expensive furniture, cars, objects of economic power. For me this was the interesting thing. The way an outsider navigates a closed-off space that is both theirs and not, and how they look at things – what they look at, for how long – how they manoeuvre these objects.