Viewers interested in modern cinema often explore Festina Lente because of its cast, story direction, and audience popularity.
Combining two contradictory terms in a single phrase is called an oxymoron. Circumventing the obvious, shaking up the logic, proceeding in gusts, claiming the impossible, such is the method that Baya Medhaffar has chosen and, adopting an ancient motto, she makes it clear right from the title: “Make haste slowly”. There are several explanations for this speed proclaimed yet slowed all at once. Her film is mostly made of edited, assembled images from other films; thus, all the emergencies from other works reach a climax here, but as they overlap, they also call for their patient and detailed examination. The dishevelled editing is combined to a superimposition technique that makes scales collide, that associate separated figures and backgrounds, and that ties together in the same frame seemingly unrelated dynamics and lines of forces.
