Shooting Ourselves

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13 lives affected by the arms trade converge in a warehouse in Berlin. From around the world, they have come to dramatize and record their personal stories for ‘Situation
Rooms’, a show by Berlin-based theatre legends, Rimini Protokoll.
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Director, Christine Cynn, continues the exploration of performance and violence begun in ‘The Act of Killing’ (which she co-directed), juxtaposing dramatic re-enactments with unscripted moments of private reflection and backstage conversation between
protagonists, from heated exchanges on “collateral damage” to banter about diplomatic picnics at Osama Bin Laden’s abandoned compound.

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Each one acts out their story, filming from their own perspective with a handheld device, creating an uncanny environment where everyone is filming all the time.
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The set is both real and surreal, a maze of factories, battlefields, and boardrooms, where each room simulates a real place in the life of each protagonist. Step through one door and you’re in a street demonstration in Homs, Syria. The next door leads you to a cubicle in San Diego where a drone operator drops bombs on villagers in Waziristan, Pakistan. Go past the Russian engineer in the Iranian nuclear lab and turn left to witness a nine-year old boy in a classroom in Democratic Republic of Congo, being kidnapped to train as a child soldier.
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SHOOTING OURSELVES captures the idiosyncratic atmosphere behind the scenes of this
futuristic production, where total strangers from across the globe—and the political
spectrum—submit themselves to a theatrical world order where all perspectives are equal.
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Witness the creation of an oddly warm and dysfunctional family bound by weapons and
warfare.

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