A material history of films exists that is largely unknown, on which however, the history of film forms that populate our more or less saturated imaginations depend. There can be no film without a film shoot, no film shoot without a set, be it natural or artificial, recorded by camera or reproduced by a computer. But what happens when film shoot locations, in the desert for example, become mass tourism destinations? Or when parts of the set, most of which are abandoned, age or decompose there, in the open air? In Starouarzazate, Occitane Lacurie creates a tormented visual cartography where the “dignity of archaeological relics” now coexists with the carcasses of technical objects (computer equipment, hard drives, monitors…) without which our experience of the images would not exist. — Dork Zabunyan •