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Sherko ABBAS
The Music of the Bush Era
Sherko abbas
The Music of the Bush Era
Doc. expérimental | hdv | couleur | 7:3 | Iraq | 2017

The theme of music is represented by work of Kurdish-Iraqi filmmaker Sherko Abbas: The music of the Bush era. in a split-screen video, using footage shot by his sister, a cellist in the Iraqi National Symphony Orchestra, he demonstrates how in 2003 the US administration, instead of helping the orchestra to properly re-establish itself in Iraq, militarily airlifted the entire orchestra to Washington to perform once at the Kennedy Centre before President Bush. his film is critical of this futile propagandistic gesture, enacted in the shadow of the invasion in March of the year to promote neo-liberal values, and escape censure. The work was partially inspired by Slavoj Zizek's analysis in his Pervert's Guide to Ideology of the widespread ideological use of Beethoven's Ode to Joy from his Ninth Symphony.

Sherko Abbas Born in 1978, in Sulaymaniyah, Kurdish Autonomous Region, Iraq. Lives and works in United Kingdom. He studied Fine Art in Sulaymaniyah and graduated with Master of Fine arts at the Goldsmiths University of London in 2015. He employs the media of video, performance, text and sound in his practice dedicated to the sonic and visual memory and geopolitical situation of contemporary Iraq and Kurdistan in Particular. He has participated in many exhibitions including his work THE MUSIC OF BUSH ERA was Shown in last Iraqi pavilion (Archaic) in Venice Biennale 57th, the Bagdad mon amour in ICI Paris, Vernacularity, Alternativa International Visual Arts Festival in Gdansk, Poland and the Estrangement in showroom London, Freedom at the barricades? Vaxjo Art Hall, Vaxjo, Sweden.

Reddishblue Memories
Ivan argote
Reddishblue Memories
Doc. expérimental | 16mm | couleur | 11:52 | Colombie | France | 2017

Reddishblue Memories by Iván Argote, uses the artist’s affective memories as part of an ongoing project of research and speculation based on a rumor associated with the history of George Eastman’s Kodak company, and its switch from Kodachrome to Ektachrome. This was allegedly done for ideological reasons : in the late 1960’s they realized that Kodachrome pictures turned reddish with time, and in the context of Cold War decided that the United States’ archives could not end up with the enemy’s color, and so developed the Ektachrome process, in which pictures eventually turn blue. The film, which was made in Ukraine as part of an art exhibition, is narrated simultaneously in Ukrainian by Oxana Shachko founder of Femen, and in Spanish by Ivan Argote himself. In the film, many issues concerning the relationship in between colors and politics raise, as orange revolution, white and black armies, purple and red revolutions in South America.

Iván Argote (Bogotá, 1983, lives in Paris) works explore the relationship in between history, politics and the construction of our own subjectivities. His films, sculptures, videos, collages, and public space installations temps to generate questions about how we relate to the others, to the state, to patrimony and traditions. His works are critics, sometimes anti-establishment, and deal with the idea of bringing affects to the politics, and politics to the affects with a strong and tender tone.

Carsten aschmann
Doc. expérimental | hdv | couleur | 14:0 | Allemagne | 0 | 2018

In a few billion years, the sun goes down. Time enough to leave the inhospitable places of the earth. The flight ends with a crash in Paradise, which has been provide with a decay data by the manufacturer. The search of an angel produces a lot of stardust.

Newsreel 63 - The train of Shadows
Nika autor
Newsreel 63 - The train of Shadows
Doc. expérimental | hdv | couleur et n&b | 39:0 | Slovénie | 2017

Newsreel 63 follows newsreel-related practices and tries to position and understand a particular image a shred of video taken on the once famous Belgrade - Ljubljana rail-line, where refugees now travel not in couchettes but between the trains wheels. Newsreel 63 drifts into a visual investigation of railways and explores its historical, social and political narrative. The essayistic and associative elements of Newsreel 63 link this historical narrative to our pursuit of happiness, the idea of voyage in the current social constellation, where our longing for happiness is all too often tied to the idea of travelling somewhere or indeed the need to secure the means for mere basic survival.

Nika Autor finished her studies at the Academy of Fine Arts in Ljubljana (BA and MA) and finished her PhD in Practice at Academy of Fine Arts Vienna. Her practice is primarily based on experimental videos and documentary films, film essays, newsreels and spatial video and film installations. The focus of her work is a research of the invisibilities/ inaudibilities dealing with concealed topics of the forgotten past and the silenced present. Her work focuses on the production of particular images, specific constructions of collective memory as well as on personal/oral narratives and examines asylum and migration policies, workers rights and politics of memory. She is part of the collective Newsreel Front (Obzorniška Fronta), an informal collective of workers coming from the field of film theory and art practice.

Ananthakrishnan B
The Celluloid Woman
Ananthakrishnan b
The Celluloid Woman
Doc. expérimental | 4k | couleur | 12:0 | Inde | Hongrie | 2018

This is a meta-filming attempt to represent a failure. Conceptual challenge of a cinematographer who had to deal with passionate archivist, who works in the Film archive, uncompromisingly Film archivist forgetting the cinematic result demanded by the filmmaker, An archivist who belongs to celluloid age, still works with celluloid, starts confronting about the medium and time. Does the spectator really realise the conceptual mistake, or are they decided to go with a flow designed by filmmaker?This film eternally about director`s turbulent relationship with the character Margarita sosa. The short movie is divided into 4 movements, every movement is dedicated to a specific moment of cinema, but it is also a metaphor of your relationship with your subject. Movement 1: creation. Margarita speaks about the birth of cinema. It is a metaphor of beginning of the film first approach to the director`s character. Movement 2: preservation. Margarita speaks about preservation. It is a metaphor of the director is trying to keep a good relationship with his character. Movement 3: destruction. Margarita speaks about censorship (that is a destructive force). It is a metaphor of destroying the director`s relationship with the celluloid woman.

Ananthakrishnan is deeply involved in cinematographic and photographic storytelling. He traveled across India for geographically exploration of the socio-political structure. He worked as cinematographer for Tehelka music project, in New Delhi, and also with a documentary curating initiative called magiclanternmovies. Finally, as a video volunteer he worked at Primitive Seed Movement in navdanya. His ambition is to contemplate on the borders of practice and theory of documentary and fiction. He started his study at Gandhigram Rural Institute in Tamilnadu. After doing Development Studies he received a Summer Fellowship from National Human Rights Commission to do a short-term research on human rights violations in India. He went on to complete his studies in community media at Tata Institute of Social Science in Mumbai Afterwards, Ananthakrishnan received a Camargo Foundation Residency Art Fellowship in France to work on his working progress feature documentary Shadows of gandhi. Then he got accepted in the Summer Travelling Film School Cinemadamare 2018 in Italy cinemadamare, where he shot five short films during the period of two months. Ananthakrishnan`s photography projects have been exhibited at STIGMART10 in , Video Focus Biennial Edition , International Art Exhibition Nord Art 2016 in Germany, Screengrab Award 2014 in Australia, and International Festival of Photography PhotoVisa in Russia. His short documentaries and short films were widely screened at many international film festivals. At the moment he is doing the DOC NOMADS Erasmus Mundus Joint Master Degree 2017-2019 (EMJMD) in Documentary Filmmaking delivered by a consortium of the University of Lusofona in Portugal, University of Theatre and Film in Hungary and St. Lucas School of Arts in Belgium. AWARDS Annanthakrishnan won the National Student Contest at the International Year of Planet Earth in 2018. He also won twice the Best Cinematography Awards during the tenth Cinemadamare edition in 2018. See for more info.

Christian BARANI
Dans la fumée d'une peau
Christian barani
Dans la fumée d'une peau
Doc. expérimental | hdv | couleur | 12:30 | France | Afrique du sud | 2018

Sleep Has Her House
Scott barley
Sleep Has Her House
Doc. expérimental | mp4 | couleur | 90:0 | Royaume-Uni | 2017

The shadows of screams climb beyond the hills. It has happened before. But this will be the last time. The last few sense it, withdrawing deep into the forest. They cry out into the black, as the shadows pass away, into the ground. Through long static takes, the film develops a contemplative, hypnotic experience, akin to paintings that move, mixing live action and still photography (shot on iPhone) and hand-drawn images.

Scott Barley is a British artist and filmmaker from South Wales, UK. His work has been screened across Europe and The Americas, including The Institute of Contemporary Arts London, BFI Southbank, Sheffield Doc Fest, Doclisboa, Karlovy Vary IFF, Dokufest, EYE Filmmuseum, Vancouver International Film Centre, Museum of Modern Art Rio, Museum of Contemporary Art Buenos Aires, and Fronteira International Documentary & Experimental Film Festival. His work has been associated with the Remodernist and Slow Cinema movements. His films are primarily concerned with the Anthropocene, nature, cosmology, phenomenology, and mysticism, and have been compared with the sensibilities of Stan Brakhage, Philippe Grandrieux, Béla Tarr, Maya Deren, and Jean Epstein.

Vilgiskoddeoayvinyarvi: Wolf Lake on the Mountains
Justin bennett
Vilgiskoddeoayvinyarvi: Wolf Lake on the Mountains
Doc. expérimental | mov | couleur | 24:50 | Royaume-Uni | Russie | 2018

We follow Viktor Koslovsky, a scientist still working at the otherwise abandoned Kola Super-Deep Borehole, a geological research station “at the border of everything” in north-west Russia. He tells of the history of this former cold-war project and of his current research which he describes as “listening to the past in order to hear the future.” The Kola Super-Deep Borehole (KSD) is the deepest man-made hole on earth – more than 12 km deep. It was a Soviet geology research project started during the Cold War. In addition to gathering data about the geology of the earth`s crust it formed part of Project Globus, a network of seismic listening stations which was to act as an early-warning system for natural disasters as well as for monitoring enemy nuclear tests. After the fall of the Soviet Union the project was slowly wound up and the site was abandoned in 2008. The rock strata that are visible in the core samples extracted from the borehole are seemingly inert to humans but on another time-scale they are very much alive. They tell the story of the formation of the earth and of ultra-slow processes that are still taking place within the earth`s crust. Thinking at this geological timescale puts human endeavour and progress into perspective, the Kola Super Deep becomes merely a pin-prick into the body of the earth. Still, the image of drilling so deep into the earth inflamed the imagination of evangelical Christians with an image of Hell. The sounds of screams emanating from the inferno circulated on the internet purporting to have been recorded by the Russian scientists – probably a montage of horror-film soundtracks. The layers of rock penetrated by the drill resound with Dante`s decent into the Inferno with Virgil as his guide – where each layer or circle of Hell is reserved for different kinds of sinners, each with their own story. In which circle of Hell can the conspiracy theorists be found? Which is reserved for the climate change deniers? At the KSD site, next to a lake called Vilgiskoddeoayvinyarvi (‘Wolf lake on the mountains’ in Sàmi language), we meet Viktor. Ever since the station shut down, Viktor has stayed on-site as much as possible, carrying on the work started by Dr. Huberman, the founder of the project. He recounts the history of the KSD, relating it to other cold-war science projects, about the geology and history of the area, and of his experiences living there alone. He guides us around the ruined site, introducing his living quarters, his small laboratory and of course the borehole itself. He explains his work, listening to vibrations deep within the earth, linking geology with Sami shamanism and divination.

Justin Bennett (UK, 1964, based in The Hague) works with sound and image. Trained in sculpture and electronic music, he uses drawing, video, sculpture, and a diverse array of sound forms in his research. One recurrent theme is our experience of archticture, urban development, and the (un)built space. He employs sound in order to render it audible as well as palpable: in his work, listening carefully provides a radically different way of seeing and experiencing. Bennett`s recording of sound is comparable with the shooting of video. He uses various microphones to change perspectives – like camera lenses. The microphones – the listener`s points-of-hearing – move through a city, a street, a windy Russian tundra, or the different-sounding spaces of a building. In many of Bennett`s works and installations sound is complemented by video images that affect the experience of the visitor differenty again. In some of his research projects the audiovisual material is juxtaposed with voice-overs and drawings, mapping space, movement, sound, magnetic fields, and so forth, through language and diagrams. Thus a reciprocity is created between various forms of expression: a drawing or a text can be a score; and sound and image become ways of drawing and writing. This way, Bennett`s work is also a research into sound and image as specific media, and an exploration of the ways in which they can be used and experienced. His way of working sparkles unexpected complementarities, synaesthetics, collisions and manipulations of the mind.

Grégory BÉTEND
La nuit des rois
Grégory bÉtend
La nuit des rois
Doc. expérimental | mov | couleur | 16:30 | France | Brésil | 2018

José Costa exerce la profession de « nègre ». Il écrit les histoires de ses commanditaires. Un soir à Recife, il traverse une fête populaire et spirituelle dont l’origine remonte à l’histoire coloniale du Brésil. Lui, l’écrivain fantôme, est l’homme de l’ombre, la plume anonyme et silencieuse. À la faveur des croyances populaires et de leur magie, s’ouvre cette nuit la possibilité d’une histoire réécrite.

Né en France, Grégory Bétend est diplômé de l’Ecole des Beaux-Arts de Lyon (ENSBA), et de l’école documentaire de Lussas. Il a réalisé "Checkpoint Charlie" et "Nu", qui ont été présentés dans plusieurs festivals comme le FID Marseille, les Etats généraux du documentaire (film d`ouverture), le Festival International du Court-Métrage de Clermont-Ferrand, entre autres. Son travail a également été présenté au Centre Pompidou Paris, au centre d`art Kunstverein Tiergarten de Berlin, entre autres. Il est l’auteur des livres « En 1799 l’entrée était déjà là » et « Ora », et publie aussi en revues (Vacarme, Le nouveau recueil).

Levantados do Chão
Daniel blaufuks
Levantados do Chão
Doc. expérimental | hdv | couleur | 20:0 | Allemagne | Portugal | 2018

A traditional band plays in an abandoned hotel on an island in the middle of the Atlantic Ocean. Only in the final credits we understand that this is a political film.

Daniel Blaufuks uses mainly photography and video, presenting his work through books, installations and films. He has a predilection for issues such as the connection between time and space and the intersection between private and public memory.

Watch the Skies
Dan boord , Luis VALDOVINO
Watch the Skies
Doc. expérimental | hdv | couleur | 5:38 | USA | 0 | 2018

Watch the Skies is an encounter with an unworldly past and present. It is likewise an encounter with the science fiction film music of the cold war. In 1951 a flying craft encircled the globe traveling at 4000 miles an hour and landed in Washington, D.C. to meet actress Patricia Neal. Meanwhile, at the North Pole a handful of American soldiers and civilians met the first invasion from another planet. As unlikely as it might seem, the origin of these occurrences may be found in what a pilot, flying near Mount Rainier, reportedly saw and what a rancher found northwest of Roswell, New Mexico in 1947. Watch the Skies is a road trip and rendezvous with the expanses of the unknown and the skies of New Mexico.

Biography/Dan Boord: Dan Boord is a Professor Emeritus in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

Andrea bordoli
Doc. expérimental | mov | couleur | 18:5 | Suisse | 2018

The Depth Beneath, The Height Above consists in an exploration of the high alpine region of Robiei, southern Switzerland. Conceived as a sensory piece, the film particularly focuses on the existing relationships between the humans, animals, infrastructural and natural elements that compose Robiei`s specific landscape.

Andrea Bordoli holds a BA in Anthropology and Philosophy from the Université de Neuchâtel, and a MA in Visual Anthropology from the University of Manchester. He is currently based in Geneva, where he studies cinema at the Haute Ecole d`Art et Design (HEAD) while developing his own personal research at the intersection between anthropological theory, documentary cinema and visual art.

Las fuerzas
Paola buontempo
Las fuerzas
Documentaire | 0 | couleur | 17:40 | Argentine | 2018

Las fuerzas follows a group of future jockeys. Under a school logic, with methods and forms of assimilation similar to any other kind of learning system, the material to be modeled is the body. A body that is complemented by an other, a small body that should not grow, of a latent fragility, always about to break.

Degree in Audiovisual Arts from the National University of La Plata, Argentina. Her short films Las Instancias del Vértigo (2010), Los Animales (2012), Las Fuerzas (2018) were screened at Cinéma du Réel, BAFICI, Film Society Lincoln Center, FICUNAM, FIC Valdivia, La Habana, among others. She was part of the Film Laboratory of Universidad Di Tella, coordinated by Martín Rejtman and Andrés Di Tella. Currently, she´s developing her first feature, The breed of swift.

Viet Hoai Son CAO
Neon Sarcophagus
Viet Hoai Son cao
Neon Sarcophagus
Doc. expérimental | hdv | couleur | 15:29 | Viet nam | 2018

In a far away village Hai Hau of Vietnam, a group of Christians are building a spaceship to fly to the moon.

Cao Viet Hoai Son (Cao Viet Hoài S?n) was born in 1994, Hanoi, Vietnam. He was a film student in a collaborate course of Hanoi Academy of Theatre & Cinematography and Belgium Institut Supérieur des Arts. He is interested about human connections and inner desires

Out of the gardens
Quimu casalprim
Out of the gardens
Doc. expérimental | dcp | couleur | 82:0 | Allemagne | 2018

A paradise is emerging on earth. It is neither a dream nor a utopian delusion but an opportunity for a new kind of society. A step beyond the human as it has been known. A step we don't dare to consummate.

Born in Catalonia and based in Germany. Studies of philosophy, philology and media art in Barcelona and Cologne. Shorts selected and awarded in Clermont-Ferrand and Oberhausen among others. "Out of the gardens" is his first full-length film, premiered at the international competition of FID Marseille.

David Enrique COGOLLO
David Enrique cogollo
Documentaire | hdv | couleur | 37:40 | Colombie | 0 | 2018

Synopsis, « Moriviví » Documentary 36:40 Min, 2017. An immersive film plunging us somewhere between reality and a certain expressionist estrangement in its disheveled portrait of a family. Moriviví reflects a social reality for some rural areas of Cuba, in which poverty, fear, violence, possession and even santería and superstitions take center stage in a day-to-day life that is lived on the edge. Brayan and Kiki are the third and fourth generations of their Cuban household. Situations of violence are the daily bread. Sometimes they have to take the role of the adults to avoid problems between real adults. In the middle of the countryside where the children live, they entertain a close relationship with nature. They breed animals that serve not only as food or pets, but also for the Santeria rituals they practice regularly.

Biography David Enrique Aguilera Cogollo Born in Barranquilla Colombia in 1991. Before making films, David studied Sociology in the human sciences school of the Rosary University in Bogotá, Colombia. Then he studied at the National School of Film of Bogotá. As soon as he finished his career, David began a master degree in alternative cinema at the International School of Film and TV of San Antonio de los Baños, Cuba. David crosses the boundaries of documentary and fiction in his work. Moriviví was filmed in Cuba as a final project

Giorgiomaria CORNELIO, Lucamatteo Rossi
Nell'insonnia di avere in sorte la luce
Giorgiomaria cornelio , Lucamatteo Rossi
Nell'insonnia di avere in sorte la luce
Doc. expérimental | mp4 | couleur et n&b | 27:0 | Italie | Irlande | 2017

"Nell`insonnia di avere in sorte la luce" is a journey between Italy and Ireland, an atlas of different languages and places that display the possibilities of contemporary cinema as a place of endless exploration. This movie (filmed mostly in Ireland, in archaeological sites of interest as Hill of Tara or Glendalough) is an attempt to present an idea of cinema before the invention of cinema itself, connecting the mythical Ogham alphabet (engraved on the surface of the stones) with the practice of experimental cinema (cameraless movies) and also with Italian avant-garde artists like Antonio Burri, Paolo Gioli, Corrado Costa, Emilio Villa, Stefano Scodanibbio, Osvaldo Licini. By doing that, Giorgiomaria Cornelio and Lucamatteo Rossi tried to create a map of meanings, inspired by Aby Warburg`s "Mnemosyne Atlas".

Giorgiomaria Cornelio (14th January 1997) and Lucamatteo Rossi (3rd December 1996) founded the atlas Navegasión in 2016. The same year they presented the film “Every bush a god that burns” on the 52nd edition of the International Film Festival of Pesaro and won the ISPEC CINEMA Special Award Locarno 2016 (the film has been also included in the selection of Rencontres Internationales Paris/Berlin 2018). In parallel with their second film (Nell-insonnia di avere in sorte la luce”), they curated the exhibition “Like the grave of a stone, like the cradle of a star” which was hosted in the Italian gallery Philosofarte, in the Marienbad Film Festival and in Trinity College Dublin, where they both study. They also collaborated with Franko B in the performance “Playtime” and the collective exhibition “Young at heart, old on the skin”. Giorgiomaria is also a writer. His articles have been published in blogs and magazines such as ArtNoise, Nazione Indiana, Le Parole e le Cose, Anterem, Il Manifesto, Il Tascabile, Doppiozero. He is the curator of the online film catalogue “La Camera Ardente” (The burning Camera).

Matthias DE GROOF
Matthias de groof
Documentaire | mov | couleur | 34:40 | Belgique | 2018

When the staff of the AfricaMuseum destroys the very dioramas they used to guard for decades, a colonial worldview is demolished. What remains are dead animals staring at you amidst ecocide. The violent destruction forms an allegory of museological and ecological relations. Diorama literally means “through that which is seen”. It is a window which wants to suggest life as truthful as possible through death. The diorama then, becomes a still life: a Vanitas. So still, that the sculptural becomes pictorial, until men enter the broken window and become part of the nature morte. Men animate death through caress and tear the animals loose from a morbid decorum that offered them verisimilitude of an obsolete landscape.

Dr. Matthias De Groof has a strong interest in film, Congo and (post)colonialism. He has a Master’s in Philosophy (HIW - KUL), International Relations (UCL) and Cinema Studies (UA). He studied African Studies at UMU (Uganda) and became a Fulbright and BAEF visiting scholar at NYU’s Tisch School of the Arts. His PhD in Cinema Studies looked at African cinema. As a Postdoctoral Fellow of the Research Foundation - Flanders (FWO), he studied postcolonial film theory at the Antwerp University where he also taught World Cinema, Aesthetics and Curating & Exhibiting. His scholarly work has been published in Third Text and Columbia University Press amongst others. He is regularly asked to talk and write in non-academic contexts and to curate film programs. His own films have been presented i.a. at the IFFR, Media City, Cannes Pan-African Film Festival and the San Francisco Art Institute. Currently, he works at the Collegium for Advanced Studies in Helsinki. His film-triptych on postcolonial museology (CobraFilms) and his book on Lumumba’s Iconography (Leuven University Press) are about to be published.

Commando Sacko
Eleonore de montesquiou
Commando Sacko
Doc. expérimental | hdv | noir et blanc | 17:35 | France | Estonie | 0

Sacko, or "Commando" as the Estonian police called him, was detained in the Estonian prison of Harku, three years all in all. He had applied for asylum in Estonia, was released and put on the street in September 20. He took refuge "elsewhere" and talks. He tells about the treatment of the Harku detainees, the solitary confinement isolation cells, the injections, the oblivion of these people who cannot communicate.

Eléonore de Montesquiou’s work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of up rootedness. Eléonore is primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community. A few years ago, she started working with asylum seekers from French speaking countries in Estonia.

Maroan EL SANI, Nina Fischer
Freedom of Movement
Maroan el sani , Nina Fischer
Freedom of Movement
Doc. expérimental | hdcam | couleur et n&b | 9:45 | Allemagne | 2018

Evoking the Olympic marathon from Rome 1960, in which the Ethiopian runner Abebe Bikila conquered the African continent’s first gold medal, running barefoot and becoming a sporting legend and a symbol of the Africa that was freeing itself of colonialism, Fischer & el Sani have recontextualised amidst Rome’s controversial rationalist architecture, a new race involving refugees and immigrants staking a claim to their freedom of movement. Fischer & el Sani are examining the complexity of ideological, political and architectural implications of Bikila’s 1960’s Olympic gold medal run to this day.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. They have been working together since 1995. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at Uninversity of the Arts, Berlin. International art exhibitions and film festivals they have participated in include Berlinale - International Filmfestival Berlin, International Film Festival Rotterdam, Istanbul Film Festival, Sydney Biennale, Gwangju Biennale, Liverpool Biennial of Contemporary Art, Manifesta 4, Frankfurt, Media City Seoul Biennale, Aichi Triennale, and solo exhibitions e.g. at Tokyo Photographic Art Museum, Stedelijk Museum Bureau Amsterdam, Museum of Contemporary Art Hiroshima, K21 - Kunstsammlung Nordrhein Westfalen, Düsseldorf, Maxxi Museum, Rome.

sans titre
Lieselot everaert
sans titre
Doc. expérimental | mp4 | couleur | 13:0 | Belgique | 2018

Untitled is a documentary in which four actors are waiting. While waiting in silence, their presence raises questions about the border between reality and fiction.

Lieselot Everaert (Bruges, 1993) is a Belgian filmmaker based in Ghent. She is currently finishing her Master of Fine Arts at KASK School of Arts in Ghent.