Capital
Tracing throughlines between Italian Telefoni Bianchi (white telephone) films of the 1930s and the building of contemporary cities in Egypt, Alsharif searches for legacies inherent in the physical and political construction of new capitals. Distilling and subverting the film’s frivolous, bourgeois motifs and mobilising the character of the ventriloquist, she confronts the silencing of speech and the colonial distortions of seemingly bygone eras of fascism.