Made as part of the Winnipeg Film Group's "Super 8 Special" film incubator. This picture was captured on super 8 film, drip dyed with a mixture of india ink and water collected from Lake Winnipeg, then digitized and captured on VHS.
A mother goes through a box of keepsakes, showing photographs and reading love letters out loud in a soft voice. Meanwhile a father leafs through an ethnography book, then fixes his gaze on a single, significant photograph. These are the parents of French-Vietnamese filmmaker Anaël Dang, who, 21 years ago, received an envelope with life-changing contents.
Halime doesn't identify with the traditional image of women in her patriarchal Turkish village community. There's more to life than looking after the house and children, she believes. So she decides to organize a shooting competition for women. But this idea isn't universally welcomed by the men in the village and, as heads of the household, their permission is needed.
For about a dozen years, Lizama has traveled to southern Chile during the summer, mainly between the cities of Valdivia and Osorno. Years of observing birds and their collective movements, trees and their swaying, the sea and its rhythm, the rain and its whisper, the mist that turns into fog and the boats that shatter the calm. Memories and lessons embedded in cinematic time, of someone who yesterday embarked on the journey as a stranger and today does so to reach the family home. Starting from a recognizable world, we enter a more dazzling and abstract one, playing with the pixels in the frame. Recorded and (mostly) edited on a cell phone.
Is it the ego, the superego, and the ID killing one another? Is it a series of alters fighting for independence? Or is it all just a weird dream of troubled mind suffering from the human conditioned reshaped as a hare? That is up to the viewer, powerful translator in the experimental, to decide.
The city as a stage of desire, where the male gaze provokes surveillance and scrutiny of the female body. This power relationship turns the body into a field of contestation in public space.
Dalisay, a woman obsessed with cleanliness, returns home after a tense encounter with her neighbors. Her routine gets shattered when an unexpected knock disrupts her carefully curated world.
Thousands of workers take the ferry across Lisbon’s Tagus River every day. They’re commuters just like those you see everywhere in buses, trains and subways. In the ceaseless flow of humanity they disappear anonymously into the crowd. This film is Gonçalo Pina’s cinematic tribute to these “invisibles.”