After years of creating representations of war, Emanuel Licha immerses himself in a Haiti in constant struggle. His documentary zo reken, closer to linear film than his previous works, draws on both recorded and offscreen images. “This is a habitual posture for him, as he probes the subjective nature of our gaze,” notes André Lavoie. The insurrectional atmosphere in the Haitian capital is viewed through a double frame: that of the camera and that of the windows of a zo reken (literally, shark bone), as the 4×4 vehicles used by foreign powers and humanitarian organizations are called locally. “From within this vehicle, Haiti is revealed in a perfectly defined aesthetic offering, a gaze delineated as if the spectator were also shut into this closed space.”