Anis Mahrsi was practically a permanent installation at a recent film festival in downtown Tunis. Prior to evening film screenings, he was easy to pick out of the crowd: in a café teeming with movie-goers, Mahrsi, in a grey tilby hat and stripes, sat before the easle resting on his lap, colored markers at his side, black marker held to the paper in front of him. The chair opposite him was invariably occupied by some stranger showing a self-conscious smile as Mahrsi sketched out the person’s likeness, his or her features exaggerated on a disproportionately large head. At the end of each evening, most everyone left the theatre with a caricature in hand, a rolled up portrait or couple of the postcards that Mahrsi had made for the occasion, one illustration for each of the festival’s eight films.