Omer Fast

Trauma, amnesia and reenactment converge in the Israeli artist’s first foray into cinema, from the October 2015 issue

By Helen Sumpter

Tom Sturridge on the set of Remainder, 2015, dir Omer Fast. Photo: Chris Harris. © and courtesy Tigerlily, London Tom Sturridge on the set of Remainder, 2015, dir Omer Fast. Photo: Chris Harris. © and courtesy Tigerlily, London Spielberg ’s List, 2003, two-channel video installation, colour, sound, 60 min, edition of 6 + 1 AP. Courtesy GB Agency, Paris; Aratia Beer, Berlin; and Dvir Gallery, Tel Aviv from left: Remainder 1st AD Nick Justin and DOP Lukas Strebel with Omer Fast and Tom Sturridge on the film’s set. Photo: Chris Harris. © and courtesy Tigerlily, London

It’s May 2014 and I’m on set with the production crew at a film studio in Bromley-by-Bow, staring at a tiny black-and-white monitor on which live footage is playing of the action taking place to my right. Four men in white jumpsuits and thick stocking masks run into a room. Shots are fired: someone’s hit. The action stops, comments are made by the director, makeup is touched up, cameras are reset and then the process repeats. The film in production,…

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