this is usually around take what offloads, what's left of his morning break production about a 100 loaves 2 years ago he produced 10 times that but he says chronic power cuts have nearly destroyed his small business. i good trip or do i do more light? i couldn't even imagine the future with this type of business because of uh, we do depend on electricity when able to day basis for the business to function. so even the explosion trends that we have no idea on pause. escalating operational costs, like purchasing diesel generators and slower trade means move in $2.00 thirds of township businesses of shots at the time of the last elections in 2019 the electricity crisis cost to solve their frequent economy, at least $2000000000.00. that's according to the national energy regulator. while the government's lived by the african national congress was willing to use an advance that agent facilities and power generating equipment would not keep up with them on. it did nothing to insure capacity was increased. but now it says it has

a plan and puds of the improvement that do i see now? in a said he's out of it, they say aggressive maintenance lead. the recovery effort that is being approved by the board is that the way being able to add the approximate improve that the energy of a buick 2 faked up by approximately 9 percentage points. but in the last few years, the power cuts which began more than 16 years ago have only worsened with some areas without power for up to 10 hours a day. in the weeks ahead of the election, silva for has not had any problem with that. the government says it has nothing to do with a vote and that is managed to improve power generation. even if that is the case, it may for many votes as play in the agencies favor, but it may also be too late for others. aside from the scheduled problem, cuts areas like this, and so we're to have not had any electricity for months and that's because people

here become angry. oh, i imagine so we're not going i both, i am not going to boat and out on the the, the well the probably the to the t says it has a plan and the chances of will power cuts the small use of the system power cuts of cost is business own, not only tens of thousands of dollars, but his hopes of a promising future for me to mila ultra 0. johannes, bug, as well as that for me and his dogs the attain mulling will have in use our for your hands on onto a 0 off to studio be unscripted. stay with the were you looking at now is owed as low from the nearby to pile landfill. garbage

has reached a height of more than 35 meters and is well over capacity. this is just one of many landfills around the country that have exceeded capacity, mostly due to an excess of plastic pollution. denisia is one of the world's top contributor has of plastic waste accounting for around $7800000.00 tons each year. and it's at locations like where i am on the outskirts of jakarta, where you can see the scale of what environmental groups cool of plastic waste crisis. the most common plastic pollution engine asia are single use sashes, which environmental groups say or small, but accumulation add to the countries environmental button. entities, as government says that it is working to address the plastic waste problem and has had some success in mechanism such as reducing marine plastic waste and promoting recycling. the buys a young student were you still had the dictates of shipping haiti,

and for most students abroad, all goal was to go back to 80 and fight. i am a reluctant moralist. i'd say got to be a good sign because of do you ever encounter an enthusiastic memorization run the other direction, the peoples to the close of the oldest and the roots of violence and inequality. these people to be themselves for so long. they really don't think my name is wrong, and i am afraid i'll make bone in hate as i grew up in congo, france, germany and the united states, the species i point to my camera where all those prefer not to

racism, cornelius, genocide, but also resistance. the i write about what it needs to be american and about the ordinary people who get caught up us mores. my family friend and um, when i was a child, i'm 10 author, professor refugee. i spent much of my life trying to forget what it meant to, to move the country, the vietnam war. it's over here, john chest. i've always felt like a spine in 2 worlds. it's part of the politics of memory. is history virtual to

remember the things we're going to forget the are 2 of us novels and rarely felt so at home. what i admire most about yet is ears not deduct, equate of threading knowledge of the payment and politics together. longmeyer bubble for his ability to blend part in politics seamlessly. seasonal tour. the style was a products of commitment. i am keen to talk to you about what's going on in the wants to, but i'm excited to talk to real all about how hard can challenge the damaged world we live. so what other stories we tell ourselves about also? and how do we base our past determined or feature the

rule? i am just so delighted to be here with you as a long time and buyer of your work. the last work of yours i saw was exterminate all the brutes, which is a 4 hour documentary about colonization genocide and white supremacy. and the amazing thing was that you were able to not only just make this but nicholas and have a broadcast on hbo, which is not normally the home. i would imagine of documentary about quantization and white supremacy. how hard has it been for you to pursue your personal vision as an artist over the decades? for many, many years i, i used to say that i do, gary, yes, telling, making basically find some way, some people already to work with me or to fund my movies,

hip and leave. and the decision i to very early in my life was that i would only make films that i really want to, to make. i never made of film because i had to earn a living. as a young student, i was 17 when i went to study in berlin, that was in 73. we still had the dictates of shipping haiti. and for most students abroad, you know, our goal was to go back to 80 and fight to. so for some reason politics was, you know, all dna and i transmit that to my work. you know that every film is a possible last film. so i never hold back my punches. i always thought you have one shot, so make it work. yeah, i take that very personally because i try to do that in my own work as well. it's been very important for me to do exactly what you said, come to the realization which would take me decades to come to this realization that i had to write just for myself. and i wanted to ask you something. i remember

reading your 1st novel. it's striking me as that's a 1st i really that i thought, well, an american writer, but not totally an american, but who understand extremely profoundly what america is and also be totally on my side. you know. so at what point that moment came to you to find the way to be exactly in between and in all in both completely. oh, i did grow up with a sense of being always good inside and outside of every location that i found myself myself in because of my refugee background coming from vietnam to the united states. and i think i had an intellectual understanding of what the country was and of what i thought my art should be. but i didn't have the artistic capacity to realize that vision. so it would take me many years of struggle of, of,

of writing different things before i was able to write the sympathize. and i felt that the sympathizer was really that moment when that could start bringing my artistic vision closer to my political vision of what america is. but also what function the artist can occupy relative to such a massive idea as government follow g that americans have built around this notion of the country which they've exported all over the world. and then also deeply internal ised within themselves. nothing is why i feel like we are sympathetic to each other's projects. there's some overlap in these colonial histories that have produced us. and was that something you were already understanding, even before you left to go overseas? i think i had to build it. as i went, i went to call go when i was 8, my parents went to work for the u. n. in congo and congo was my, my line, you know, i, my friends were communities belgian as well,

but i felt at home. and when i went to france, it was the same. but what i also, i think i learned was to very early on to the construct you would watch a film on 1000 and then you go to congo. and you realize that, well, there are no tribes dancing around the app played, you know, and, and as an 8 year old, it's a, it's a shock because all your emails, your africa is in the hollywood movie. and so very early, i didn't trust everything. i was reading or everything i was watching or assuming i'm on the screen. i remember reading your book, sympathize or having to get the means one to come. you, these and other one, you know, with the us, all me having an ideological debate, you know, and not being afraid to even use the word class struggle communities

in the us environment. what does something very conscious for you? absolutely. the pressure placed upon someone who is seen as a minority for whatever reason is to always speak to the center of power and that law, or to speak to the center of power so immense that i think for many people that is internalized. and so when i read the supervisor, it was actually very important to construct the novel, as you said, as of the between getting these people. and acknowledging that just because we're getting these people, it doesn't mean we think the same feel the same to see the world the same way. but that because we're talking to each other, we don't have to translate our world views for the benefit of the center of power, whether it's the united states or whether it's france or whether it's other of imperial countries and perspectives. and i feel that in your films very, very strongly that there's a, certainly a consciousness of colonial history and the way that it affects how stories are

told, but also how it affects the story tellers who come out of these colonized situations as the step to accept that older people could deter mine who you all, you know, that's something i also learned very early in. baldwin is somebody who would always say, i cancel it, anybody do time. i know why. yeah. because i'm in construction. i am something i don't know even so all you to dictate me, you know, where i stand in the history of the world. and that's why i can imagine the debate with your editor pages and pages of to get the means of talking with each other and talking about the history and forgetting the central world. it's rare nowadays to be able to to do that. when i sent out the supervisor to editors, it was rejected by 13 out of 14 editors, and the 13 editors were americans. the 14th editor, who bought it was actually english cambridge graduate. slavic studies major read

red russian and marks us theory and himself. as i discovered was of mixed race background with an indian malaysian mother. and he actually did not question the 2 to any size talking to each other, i think because he understood personally and intellectually the very histories that were discussing. and you know, you were talking about baldwin and baldwin was the subject of, i'm not your negro on this really powerful documentary about baldwin's work. and his influence and baldwin is probably best remembered for his writing from the forty's through the sixty's, but are also still present in today because baldwin's political personal, philosophical insights about race colonialism, white supremacy. they have not gone out of date. and i find that very inspiring, but it's also rather discouraging because things are not change that much in 60 or 70 years. are you depressed or do you find it energizing that there was like baldwin that yeah, people ask me that question then the creek and so i said i can't afford to be depressed. the world in front of us is

a big question mark. and when i was younger, i would say yes, it's a question mark, but we are collective. we can fight against it to. but today i don't see the structure who helped me find my way. and on a very level, within the society, we can say that the unions have the same power. they used to have every institution that had the youth organization and the elders were important. you know, i was educated by my elders nowadays anybody have access to everything. so even the notion of elders disappeared. i was very reinforce, you're much younger than i, but that you still talk from the slowly point of view of say, a fennel. baldwin, those with steel, your reference, you yourself, brought up unions, movements. it's very rare for me to have conversations with artist writers in the

united states where that ever comes up. the idea of politics beyond the representational sense, if you're in the united states or maybe here as well. when writers talk about politics are talking more about our be included are we are be represented, or are stories being told, our voice is being heard, all of which is important, but not politics in the sense as, as you mentioned earlier, class struggle mass movements of people and for me, the reason why i turn to people like baldwin says f and all the boys and other writers and intellectuals is because i can see in their work. but they had artistic visions about themselves as writers, but also about themselves as thinkers and as activists. and as people who were parts of larger revolutionary struggles and movements, that's how i see myself for me. the d. mythologized thing of white supremacy and colonial ideologies has been a lifelong project. i would touch to something you said within that which was

not to separate the fact to be a not just and inactive is all to be engage in the society. you leave it for me. that was never to be separated. one, give the legitimate, the to the older to always question, you know, while you, what all you, what is your place in society and what is your role? and i always found myself as a privilege. so, and an additional insight meant to do something a grapple with the critical, the question of privilege because i don't think it's healthy to feel guilty about one's privilege, but it is healthy to be aware of it. and then for me as a writer to think about, what can i do with that privilege? and to think that when i wrote something like the supervisor and it became successful, it was also because these literary and political movements had come before me. and through decades of struggle had created an a space in opening for someone like me

in my novel to, to come through. and the artist who goes around believing in their own genius to me is a very, very worry some person in some ways to be a filmmaker, has to be engaged inevitably with some degree of collaboration and the economic machinery of, of making movies. how does one be uncompromising when there's so many other people involved? once art, well, you have to find the right people because they exist. when i study cinema in berlin, going to work in the tv station was being a traitor. because you joined the establishment. and i was fighting with my, my, some of my colleagues at the time, say, but while you're making films for, you know, if you don't go where the people are watching and that's something i always kept all my life is to make no compromise a. but to go where the largest audience could be, you know,

to make my film accessible. there's a way not to make compromise and find the right thing and shares to finance of failed. that's. that's the advantage of democracy, is that democracy in order to justify itself, need to leave, you know, places with people that can, you can go and you just have to find them and know enough people that you know, are in position of power, but that has enough bad conscience to to come join me, but it's always a choice. you have to be conscious of it because the, it's easy to accept the project and you say, well, i have the money to say 7 saying, but usually it's the truth. if, if you don't have all the keys in your hand, if you don't make the editorials choices and the final cuts to you basically, you know, don't own your, whatever the work you do. we will end this section on that optimistic note that

there are openings for those who are uncompromising and now we're going to take some questions from the audience. so please raise your hand. i see a gentleman over there. so if you are a champion of just strictly a church or a can you give you a perspective on the role translated zip them as a new teacher and desperate to get them is it fits your trade in your case can help members of the just for a construct and shape the culturally the identity. i certainly wanted to tell my own story when i wanted to become a writer, but i also wanted to build a literary community and, and a movement that would provide opportunities for other biters to tell their stories as well. that goes back to this idea that i don't believe in individual writerly privilege, i believe in this project of abolishing the conditions of voiceless. this that would allow more of stories to emerge to what i don't want to see is a diaspora in which one voice, one representative gets to tell their story at the expense of everyone else. and so

i, i do think that dies for a transactional and translated literatures are crucial in terms of trying to change the narrative landscape of these countries that we find ourselves in. well, i'm very conflicted with that question because sometimes being at the center of the republic, you tend to be allowed to speak about yourself a certain way. so the narrative is a narrative that can sell. and at the same time, for me, it's as important to have the connection with where you come from. i never felt i was totally free in the to magic. i choose because when i go back to haiti, i have to confront my friends, my family of people i grew up with with their reality. so imagine i go back to haiti and they said all, and what about a family like said, well i, i just finish

a crazy story 5 i, i wouldn't be proud to have that conversation because that would mean i don't know what you're going through. i'm not interested with what you going through. so it's that kind of responsibility. i was never able to shake it out every day. i think about what's going on in congo. there is a wall, a 1000000 people have died. i cannot just erased it. so how do i speak of that? in my work? i went back to 80, i work, i went into politics. i was in the government. and for me that's natural to have done that. i gave to 3 years of my life to do that. and i still continue today because those are all my friends, they all fighting for democracy every day risking their life. i don't have gales, but i make sure that i show. so you directly, but i am in falls i. i tried to do my best in that fight as well. i've got

a question for you that and in 2021 i had you in a god, you live full cost, which i enjoyed. obviously you said something like, you weren't going to rise about your life because it wasn't very interesting. what made you change your mind because you happen to a memoir which has come out now i please, i am a re looked at them worst. i figure out to be a good sign because if you ever encounter and enthusiastic men morris do should run the other direction. and because exposing personal trauma as inevitably typically would involve other people. and so i think i was very reluctant to write about my own life because it would involve talking about my family. and so i did feel the compulsion eventually to divide this no more because i could finally make the connections between my families. personal experiences in my own and larger historical tapestries. i spent my career in my life grappling with big

political questions of race and colonization. and that scale of otherness, but of hopefully a sign of my maturity of the human being is that i've also come to be able to recognize that otherness is also not just taking place on these best scales, but also under intimate scales. and sometimes to people who are most other to you are the people who are right next to my parents my, my family. the difficulty in writing a bit more is to understand that your ordinariness can be the site of intense conflict. and if we're able to excavate enough, then we tell the most honest story we can about our very minor experience. we might be surprised by how many other people can identify with what we think is so trivial and excited. all the brutes as a line about knowledge is not what we lack. and i guess is the question for both of you. how do we confront the kind of willful ignorance of self inflicted

a nice yeah, that really seems to dominate a lot of the debates about the past. all i wish i could be very often mistaken that i think we are losing that fact in one of the shop. the in the film is like the, the, our getting something or the is the title. and when science is not respected, when a numbers are not respect, respect to, you know, i'm working on a film on all well, you know, to, into is 5 now. and people, not the shame to come on tv and pretend to into of is 5. that's where we are today . democratization of communication is an incredible tool that anybody can take phone and give is it's opinion about what's going on into well, this is great. but to be able to do it without checking any source. you know,

you can say something as a determine that as the scala who spent 40 years of his life working on that subject. and unfortunately, the press is not doing the job. i belong to a generation who's so how newspapers where both by 1000000000 is. it started 5060 years ago. if we don't go back to the beginning of the 20th century when the billionaire start to buy the newspaper because the monk quaker were criticizing copy to this, so they stuff you, they knew that's where the ball is. so i'll try to turn that in a slightly off the rest of the direction of like an artist and the callers are literally voices. and that's where the baldwin example becomes important. right? because uh, he probably thought that he was facing the time of catastrophe as we feel we're facing a ton of catastrophe. but then the literally artist,

the lonely scholars still has to have that sense of conviction and voice and vision to continue doing their work, even in the face of these enormous oppositional forces. power has been centralized, but there's still that opening that you described earlier. where committed people can create their own organizations and institutions and communities outside of that . they might be very small, they might be overwhelmed. but nevertheless that act is where the optimism comes in . and from those small moments, larger movements may build. that's the best that i can do it. okay. that's. that's what i can do, but you know, let's bend on the note of optimism. it's very hard for me to pull that off. yeah, no, but i will make an effort to, to approach it. you know, what i used to tell to people is that it's, you would the turbine what the future is. we all collective or not. so if we just sit and watch what is going on, of the well,

in the west will happen. we may call history. no, i know it was not that, was it the positive it means work. you know? yeah, the genocide is on its own and speak a word for some people. and that tells us i think that we have identified an issue that is crucial and transformative. i have to bomb you because the motor is hiding among you. if 10000 people die visit okay, not okay. is the number you can put would it be 50000? the the

colleges. when the

the hello i'm on the inside. this is a news life from the coming up in the next 60 minutes. 45 palestinians killed in the wake of an as rainy as strike on rough uh its southern garza organs 7 months ago and just over 36000 have now been killed. countries from across the european union on our wells condemn sundays attack on the displacement camp in russia. israel's ministry say the investigation targets

a good case and we follow students in gaza who are fairly surviving. the less alert being able to complete this.