Dubai has rapidly carved out for itself a reputation as a theoretical object. This is how Christian von Borries approaches it, explaining the title of his film. What is laid bare here is less the picturesque market town—which has grown up over night, crammed with buildings on the scale of the pharaohs—and more the realization of a liberal utopia. Dubai is a screen where sad dreams are played out, those inscribed by the imagination of capital, the dreams that haunt us: the Dubai-in-me. This is why von Borries combines shots of Dubai with local real estate advertising clips. This is why he adds sequences lifted from second life to these. Here and there, this seemingly exponential growth, this same desire to appropriate real estate, the same flights of fancy. Here and there, the image has the same role, eventually to become one big eternal, ideal residence. If von Borries sets out to analyze this Eden of capitalism, he refuses to believe that he will be able to pass easily through the looking glass, or at least beyond the image, in order to get by without it. In this exemplary free film, the image is not just a tool, it is the fertile ground itself that has to be tilled. However, rather than attempting to imbue some kind of dignity, he doggedly exploits everything he sees, reflecting on how the mirage of Dubai itself was constructed by exploiting so many new slaves. Playing with the typology of images and the orthodoxy of documentary film making, amusing himself with voice-overs and displayed text, etc. It is like watching a joyful game of massacre. Jean- Pierre Rehm (director FID Marseille)