In Jordão, Spina creates a multilayered portrait of the Jordan River which might not be the longest river in the world but probably symbolically the most important one.
A fluid monument that erects and topples ideas, a place where economy, tourism, religion, geo-politics and national identity collide, shape themselves in the form of water.
Tackling its multiple aspects as well as its materiality, its interpretation of nature as well as its usage for the perpetuation of colonial projects while mixing satellite, archive and contemporary images the film exposes gradually how the Jordan is and was shaped through the centuries, its usages for constructing identities and believes. It exposes how it is slowly despairing either by censoring physical and visual access to it or by the endless withdraw of water. While assembling different voices and languages together with ancient and contemporary facts the narrations gives glances on what is and was this liquid monument.