In Zainab's Heaven
A Hazara film director follows a gravestone maker, a water girl and a man who buried his limb, as their daily lives unfold in a graveyard.
“Phantasmapolis: Looking back to the future” is the video art program of the Asian Art Biennale 2021 curated by Anushka Rajendran.
Angela Su’s fictional artist Rosie Leavers is the last remaining person to upload her consciousness to a video game. Contemplating during a pandemic year which also saw people’s resistance movements in many parts of the world, the work pinpoints the uncanny affinities between gaming and warfare strategies. They have mutually informed the infrastructure of both worlds since time immemorial when diplomatic conflicts played out on the battlefield of the 64 squares of a chess board to flight simulation technologies which were adapted to shape gaming experiences as we know it now. When the conflict is between the state and its people, she speculates that gaming strategies empower civilians in resistance movements to counter imperialism through its own operative logic. But once we upload our consciousness, are we able to return to the sensibilities and political motivation that inspired the revolution to begin with?
A Hazara film director follows a gravestone maker, a water girl and a man who buried his limb, as their daily lives unfold in a graveyard.
Initially a made-to-order documentary on Spain, the film becomes an open-ended work-in-the-making about the creative process. “Settling in the Spanish capital to make a documentary, Hanoun sketches out for us the different steps involved in making a film. The author turns his hesitations, his doubts and difficult working conditions into the constituents of his work”. (Raphaël Bassan)
The sarcastic account of the assassination of five Spanish politicians between 1870 and 1973 is mixed with the narration of five short stories by Edgar Allan Poe illustrated by five skillful pencil artists. A documentary, a video essay, a collage, a provocative experiment where various pop culture figures and icons perform unexpected cameos. The macabre joke of a jester. Never more.
On July 1st, 1916, the Newfoundland Regiment took part in a massive First World War offensive on the Somme, led by the British. At Beaumont Hamel the regiment was nearly wiped out, as only 110 of 780 soldiers survived the day. To commemorate its 100th anniversary, Brian McKenna’s documentary film tells the story of this epic tragedy. Using a technique that brings new meaning to reenactment, McKenna recruits descendants of soldiers who fought this battle, offering them a unique opportunity to relive the experience of their ancestors in trenches built specifically for the film.
Province of Ciudad Real, Spain, December 29, 1990. During the annual march to the Herrera de la Mancha prison, held in support of the members of the terrorist gang ETA imprisoned there, the Basque rock band Negu Gorriak holds a concert, which is recorded, edited on video and turned into a tool of vindication. Decades later, a film crew tries to elaborate a personal essay around this event and its meaning.
Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.
The six-decade transformation of a block of houses, shown by means of artfully featured archival shots, highlights the beauty and sadness of human-made decay. In the blink of an eye 66 years pass by and a savings bank replaces a church.
A revealing and moving portrait of lives compromised by war, filmed exclusively by Ukrainian soldiers with extraordinary access to a tightly-controlled frontline.
Belfast-born actor Stephen Rea explores the impact of Brexit and the uncertainty of the future of the Irish border in a short film written by Clare Dwyer Hogg.
A 25-minute visual essay by Kent Jones about Jean-Luc Godard and his film 'Weekend'.
A girl mixes fiction with reality while writing a letter to her grandmother.
A documentary, using dramatization of fact, that examines the Battle of Verrières Ridge, where on July 25, 1944 and not long after D-Day, an inexperienced battalion of the Canadian Black Watch Regiment launched a doomed attack and was defeated with heavy casualties by veteran German SS troops. Part of "The Valour and the Horror" mini series.
Train “Kyiv-War“ is a full-length documentary film directed by Korniy Gricyuk. The dramatic history of the Kyiv-Kostyantynivka train, with its passengers` unique fates, pain, memories, secrets, hopes, is a history of today Ukraine. Only 12.5 hours away from peaceful Kyiv is Kostyantynivka, a small industrial city in the eastern part of the country, immediately after which the front begins. This entire time people with different characters, social status, political views, and beliefs are traveling on the train side by side. They talk, debate, even quarrel, but speak to each other and go in a common direction. And what`s important, they all want to get to peace. This film is the voice of ordinary people, the search for dialogue and the path to a common future, where everyone’s voice will be heard.
Basically an artist is also a terrorist, the protagonist thinks in an unguarded moment. And if he is a terrorist after all, then he might just as well be one. Not an instant product, but an experimental feature in which diary material is brought together to form an intriguing puzzle.
Filmmaker John Torres describes his childhood and discusses his father's infidelities.
A hole gapes in a house wall. A small flaw, something imperfect that we seldom consciously direct our attention to. Filmmaker Ondřej Vavrečka finds holes in every corner. His focus is on the imperfections of human existence. A hole can also mean an uncertain future, or an empty stomach. The gap that partners leave behind after a breakup. Ondřej Vavrečka does not only deal with visible holes. He looks at the incomplete from a philosophical perspective. He also lets a nuclear physicist, a theologian and an ethnologist have their say. He underscores their thoughts and theses with absurd everyday scenes: a woman with a chair on her head or an invisible skier. These scenes combine with interviews, sounds and stop-motion sequences to create a playful collage.
In 1978, just after Le fond de l'Air Est Rouge, which mercilessly analyzed the previous ten years of the revolutionary left's momentum until its collapse, Chris Marker made this complementary piece entitled Quand le Siècle a Pris Forme (Guerre et Révolution).
A peculiar portrait of the Argentinean writer Jorge Luis Borges (1899-1986) drawn by the extravagant and original look of the Spanish writer Fernando Arrabal, who establishes a bold parallelism between Borges' work and opinions and his own creations, both literary and cinematographic.
It has been a lifelong dream of Kyrgyz director Melis Ubukeyev to create an elaborate film version of the Kyrgyz national epic 'Manas'. He spent years working with the National Academy of Sciences of Kyrgyzstan to gather material for this film project, which was ultimately to remain a dream. However, the director's efforts were not in vain: Not only did he make films in 1962 and 1988 about the highly respected Manasçı – folk singers who passed on the epic over countless generations in melodic speech –, but in 1995, on the occasion of the 1,000th anniversary of 'Manas', he also made a beguiling essay film that not only outlines the plot of the epic with the help of magnificent images and lavish costumes, but also gives a semi-documentary account of the history of the Kyrgyz people interwoven with the myth. Long inaccessible, the essay film has recently been restored by the film studio Kyrgyzfilm and uploaded to YouTube in 4K.
Stories about young Ukrainian dancers and their hasty flight to the Netherlands. You see their new life as refugees. The former conservatory in The Hague is a shelter for them where they collect their lives and find refuge in their profession: dance. The formation of a new ballet company, The United Ukrainian Ballet, is an important foothold in winning back their lives. They find comfort in each other and close friendships develop. In addition, there is the great love for ballet, for the dancers the best way to express themselves.