Ren Scateni

Juliette Le Monnyer’s Ramallah, Palestine, décembre 2018 (2025) wants us to bear witness. Within a tight ten-minute running time, this minimalist film unfolds as a controlled documentation of one moment of colonial violence during Israel’s occupation of Palestine—almost unremarkable in its sickening mundanity, even tame when compared to the genocidal atrocities livestreamed over the last twenty-three months.

“There’s a reason why everybody hates Batman in those movies,” comments one of the titular protagonists in Omar Chowdhury’s BAN♡ITS. Set in a liminal space between Bangladesh and India, the film follows a group of self-proclaimed “destitutes” who rob the rich to give to the poor and are obsessed with Heath Ledger, because “he died for his art.” Inhabiting a lawless limbo where radical credos coexist with state-sanctioned anarchic stances these outlaws are as porous and opaque as Chowdhury’s film itself.