Shaped with “twenty cuts”, this essay considers resistance as a community-related phenomenon that often resonates on film in the context of overall commodification. To avoid falling into the spectacle vortex and defend poetry as an idea of realizing the Impossible, we turn to the power of on-air film. Its essence is embodied through the affirmation of the present in the present. Our awareness about the oppression that arises from the dictated temporality of living opens up the possibility of realizing the potency of film expression.

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