"Afraid of exposing himself to prosecution by the International Criminal Court, or even attracting an act of revenge by someone close to the murdered Palestinians, the soldier at the centre of Z32 insisted on keeping his identity a secret.  So Mograbi used special effects, first blurring the soldier’s face, then covering it with a mask composed of synthesized images.  Mograbi turned this constraint into an esthetic quality; it adds a kind of abstraction to Z32 that imposes a critical distance with respect to the soldier and his confession.  Better still, like in Greek theater, the mask has the effect of transforming the soldier into an archetype, endowing his words with universal meaning."
Extract from Mograbi Does Greek Theater by Ariel Schweitzer, Cahiers du cinéma

"At first sight, there is nothing paradoxical about a “liberal revolution”.  On the one hand, liberalism is partly linked to the great revolutions of classical times: the English beheaded their king a century and a half before we did; American liberalism started with a war of independence; Kant did not hide his “enthusiasm” for the French Revolution in 1789, mainly carried off by French liberals. The struggle against privilege, and for the advent of the autonomous individual, is not conservative in itself. On the other hand, today’s neo-liberals are basically claiming to reject all consensus and all status quo in order to change the world radically, to remove the fundamental core from the 20th century conception of politics: the primacy of the social question."
Extract from Foreword by Pierre Zaoui and Mathieu Potte-Bonneville, Vacarme Magazine no. 41