At various times during the 60s and the 70s, the urgency of the struggle triggered “a cinema right now”, underground as well as militant, experimental as much as documentary.
That immediate cinema, joyful and conspiratorial, intended to upset the cinematic shapes, its narrow boundaries and its productive logics, as well as to tell otherwise the alternative forms of human inhabitancy.
Thirty-seven movies for a home is a visual essay made of film shreds and videotape flats, of fighting women and building speculators, of criticism and action.