With I Also Love Politics , Marie Voignier extends the attention paid from film to film to the territories where imagination, historical depths and present issues intertwine, from post-communist East Germany ( Hinterland , FID 2009) to Africa ( The Mokele Mbembé Hypothesis , FID 2011, Tinselwood , FID 2017). While borders are closing more than they are opening, becoming less points of passage than obstacles and zones of fixation, here we are at a nearby border, in the Roya Valley, on the heights of Nice, between France and Italy. Opening: in the distance, a bridge. Two silhouettes. A few words. As we will have understood, the issue here will be the encounter and the welcome. But what is hospitality? Solidarity? Not so simple. The challenge will be to make room for listening to those who welcome us, for their reflections on what is at stake, for oneself, for others. A question of gesture, then, as much as of words. Words in action and anchored, like those of this man busy in his orchard who evokes the sharing of his garden as the Earth, or of this other volunteer recounting, at the wheel of her car, the transport of three young women. From one testimony to the next, a film emerges about movement, geography, and what moves us internally, between this supposed inside and this outside world that shakes us up. Hence the insistence on filming in and from cars, and these landscapes, seen from the train or through the windows of the prepared rooms. A decisive reverse shot, an exchange between two Sudanese refugees turned volunteers punctuates the film. A play of borders, of shifting positions, of hasty assignments thwarted, as evidenced by the final conversation, in the form of a rebound.