The priest‘s ear recognizes the sins of the parishioners. The heartbeat of the fetus is being monitored. Workers are leaving the factory. Khan’s Flesh shows the everyday life of a small town in Belarus as choreographies within stage-like images. The inhabitants move and position their bodies depending on the situation and according to their social and professional status. A skeleton of norms, rules and role models, completed with the bodies of active citizens, becomes a vital structure whose components alternatingly discipline themselves through mutual control, praise and punishment. These interwoven social structures are traced, broken up and recontextualized by a dance-like montage. The images’ strict tableau-style reveals a surreal theatricality of the institutionally shaped everyday life.
At the same time Khan‘s Flesh is a contemporary document of life in the Belarusian province, barely a year before the beginning of the nationwide protests against the state apparatus.
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