In the claustrophobic depths of the Mutoshi mine in Katanga (DRC), Ndjimu follows The Rememberers – a community labouring in unsafe and brutal conditions to extract coveted minerals from the ancestral soils to feed global tech empires, to their own detriment.
Distant reminiscences of a devastating hurricane float in a ghostly space. Indecipherable words, fragmented remembrances, foggy memories from a strange home.
Thana Faroq returns to Yemen after a decade of geographical and emotional separation. Oscillating between personal drawings, intimate voice recordings and footage from the streets of Yemen, her thoughts about home take on new forms.
Two friends, one Papuan, one Javanese, make a film together. Going through the footage they shot, they end up discussing the conflicted relationship between Papua and the rest of Indonesia.
Fantasmagoria explores how political architecture takes shape and evokes meaning in the public realm, featuring footage from Skopje and Brussels. Starting from a personal journey to Skopje, Fantasmagoria sheds light on the tensions surrounding the controversial Skopje 2014 project, which reshaped the cityscape with neoclassical façades and monumental statues. How do such interventions function as propaganda? And how are they experienced by residents, artists, and architects?
A visual poem about the alienation of postpartum. The body, relinquished to another life, morphs into something new and unknown: a chimera, a demon. With simple means, extraordinary images tell an all-too-common tale of isolation and sleep deprivation in the name of motherhood.
In extreme cold, the human body can turn against itself through paradoxical undressing: failing nerves mistake freezing for heat, compelling the dying to shed their last protection. In 水托邦 (Hydrotopia), hydrophones frozen into a block of ice capture the material disintegration of their frozen body as a projected film gradually emerges into clarity.
Where Comes Mulan follows artist and filmmaker Tianyi Zheng as she returns to her ancestral village in Huangpi, Wuhan, where the legendary figure of Mulan is said to have originated. Beginning with intimate conversations with relatives and local residents, the film traces how Mulan has been remembered or forgotten in everyday life, only to collide with how local authorities have transformed her image into a powerful tourism brand. Through walks across tourist sites and abandoned ruins, Zheng questions the gap between lived memory and official narrative.
Soldiers from both sides of Sri Lanka’s civil war fall in love. But their time out of war in the safety of a monastery threatens to be short, with detachments of both armies closing in.
Stéphane is a drifter, a man passing through, who quietly slips from house to house. One evening, he pushes open the door of a large estate and comes face to face with a corpse. With Christian, a stranger he meets there, they decide to bury it.
Hanna is a real estate photographer from Mississauga who commutes daily to Toronto to snap pictures of luxury apartments for a network of shady, elusive corporations. With his debut feature, director Christopher Beaulieu provides an illuminating insight into the notion of liminality and the economic dispossession of younger generations. Favouring a detached approach, where the warmth of his celluloid images clashes with the cold functionality of Hanna’s digital photographs, where the nostalgia of past prosperity seamlessly seeps into the film material, Otium shows a rare kind of lucidity. Probing the spacious depths of empty dwellings, it tells of the contemporary Tantaluses of Hanna’s generation, for whom the gig economy provides dreams of wealth that it will make sure to keep unfulfilled.
In a tender dialogue between the filmmaker, her acrobat partner, and her deceased mother, “Still, Moving” examines life in the wake of death as time ticks by, through the existential musings of a clown in a long-distance relationship. This experimental and intimate film threads together voice notes, journal entries and conversations of the filmmaker, Tash, and her partner, Ange, in an attempt to make sense of their dreams, fears and the major life events that occur whilst on tour: the idea of motherhood after losing a mother, a birthday, an injury. Filmed in East London, across the Netherlands and Latvia, the film explores togetherness when apart and exists, in itself, as an artefact of the relationship.
When two friends discover a cryptic box filled with ancient hints, they embark on a perilous journey across hidden landscapes to uncover a forgotten treasure — only to realize the greatest discovery is far different than what they expected.
What is alive in spaces left to re-wild? Dancers extend, gather & throw their grief under late stage capitalism to move towards feeling for what is growing through the cracks.
We have detected that you are using an ad blocker. In order to view this page please disable your ad blocker or whitelist this site from your ad blocker. Thanks!
