| Summary: | A film inside a film and the very first production of the artist, Anri Sala’s Intervista (1998), in which the author himself and his mother, an ex-militant (Albanian Youth Communist Party), are shown, builds an intermediary plan between History, personal memory and collective memory inside the gap opened by the discovery of a propaganda film (1977). The aim of this article is to show how the variations of points of view, frames and places in kinship and filiation relationships are structured on the processes of reflectiveness and the enunciative gaps. We shall see which experiences of the time all these links – between distance and proximity, fidelity and infidelity, familiarity and unfamiliarity – are building inside this singular ‘‘family film’’.
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