This article examines contemporary essay films that concern refugee im/mobilities across the Mediterranean Sea. In the last few decades, the Mediterranean has been transformed into a fatal space for those attempting to cross the sea without documents. The dominant Eurocentric perspective reductively views these refugee and migrant crossings as violations of European borders. Such limited frameworks feed into the category of ‘crisis’, which demands immediate intervention and top-down governmental solutions, such as the militarization of borders. In this article, I explore essay films that counter and disrupt the ‘crisis’ framework and the sense of urgency and tragedy it evokes: Havarie (2016), a slow-form documentary by Philip Scheffner, and The Leopard (2007), a dance film by Isaac Julien. Drawing on recent theories of multi-directional memory, I investigate the ways in which these films establish mnemonic connections across diverse experiences of displacement, including those produced by European colonialism, transatlantic slavery and postcolonial conflict.

中文翻译：

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超越“难民危机”的奇观：当代散文电影中移民的多向记忆

本文考察了当代散文电影，这些电影涉及跨越地中海的难民固定/流动。在过去的几十年里，对于那些试图在没有证件的情况下过海的人来说，地中海已经变成了一个致命的空间。占主导地位的以欧洲为中心的观点将这些难民和移民过境点归结为对欧洲边界的侵犯。这种有限的框架属于“危机”范畴，需要立即干预和自上而下的政府解决方案，例如边界军事化。在这篇文章中，我探讨了反驳和破坏“危机”框架及其所唤起的紧迫感和悲剧感的散文电影：菲利普·谢夫纳 (Philip Scheffner) 的慢速纪录片《哈瓦里 (Havrie)》(2016) 和《豹》(2007)，一部舞蹈艾萨克·朱利安的电影。借鉴多向记忆的最新理论，