Luciana Dumitru: MOUNTAIN IN SHADOW moves to more abstract images as they unfold, from the more romantic take in the most of your videos. What did you find interesting in this approach?
Luciana Dumitru: Michel de Certeau writes about the experience of a French travel writer, Jean de Léry, in Tupi, using the term “remainder” for that which couldn’t be translated (into words). In Léry’s case, the overwhelming (subjective) aural and visual pleasures, from the language he couldn’t understand and strange sounds to the visceral experiences of being surrounded by naked bodies. De Certeau says “proximity is presence without possession.” In your experience of living within the community of Saramaccan animists can you talk about “remainders” that you wanted to pin down? If so, how did film help you? More importantly, what are the “remainders” of this film – RIVER RITES (which is different from the lived experience)?
Luciana Dumitru: NOT EYE drew my attention in two directions: looking (and being looked upon) and the gaze in cinema. Some philosophers think of identity as fragmented, non-unitary, non-essentialist, unfixed. In looking and being looked upon, there is an undoing of each other, in a certain sense. You’ve said the character has a problem finding her own identity,“she sees it fragmented” because of the others’ look. Can you say a few words about the relation between the other’s look and the fragmented identity?
Oana Ghera: You were inspired for AS THE FLAMES ROSE by Cocteau’s “La voix humaine”, a monologue written for theater whose theatricality you expose in various ways, from revealing its source (by posing the book on the character’s nightstand) to the expressionist play with the lighting (to name just one of your techniques). Yet, it seems to me, AS THE FLAMES ROSE is also a declaration of love for cinema as a medium, what with all the rear projections and TV footage, for artificial as they may be, still manage to expand the enclosed space of the studio in a deeply cinematic way. Where do you stand regarding the long theorised relation between cinema and theater? Where did the influence of the play end and where did that of cinema begin in your creative process? Or are they intertwined? And also regarding the matter of theatricality, how do you relate to Fassbinder’s work?
Redefining the perception of space as M.C. Escher used to explore it in paintings, A PLACE TO COME reveals the mutual references between a plain description of a place and its concrete demonstration. FLATFORM is a group of artists founded in 2007, based in Milan and Berlin. Their exhibitions and screenings were present in film festivals like Venice IFF, Rotterdam IFF, Tampere IFF, Nouveau Cinema IFF (Montreal, Canada), Indielisboa IFF (Lisbon, Portugal), etc. Continue reading
Starring the versatile Denis Lavant (the fetish actor of Leos Carax), VIA is both a charming sample of meta-cinema and an intriguing journey of self discovery.Graduating cinema at The Paris Pantheon-Sorbonne University, and studying piano at the Bourges Conservatory, the visual artist LÉONORE MERCIER (b. 1985, Paris) has a very particular artistic background, obvious in the musical quality of her cinematic work. Continue reading
How does one transform during war? Subjective and genuine childhood memories of the siege of Sarajevo are combined with excerpts from guilty pleas from the International Criminal Tribunal for the former Yugoslavia. Although in 2012 it is exactly 20 years ago the siege of Sarajevo began, the story doesn’t mention the actual context, becoming timeless and universal. DAYA CAHEN was born in Amsterdam. She is passionate about photographs, videos and video installations and her artistic work revolves around propaganda, indoctrination and mass psychology. Continue reading
Back at the beginning of the Romanian communist era, the government decides even the dimension and the way to put prefabs together. The only job left to the architects is to think how to cram the people inside. They don’t manage themselves to acquire the legal conditions to have a place to live in. They are homeless architects. Looking for a place to sleep becomes an endless wandering in a stifling space, having no borders but any expanse either. Everything is lost: the projects, the constructions, and the self. ELIZA MUREŞAN (b.1987, Bucharest) is an young emerging filmmaker and video artist, passionate about photography and experimental art. She studied at the Art Academy in Dusseldorf (2005 – 2008), then she went to Paris to continue her education in Beaux Arts. Continue reading
Once upon a time the men of the Cuicuro tribe didn’t return to their village after they went out to fish. Thus their women started to worry and sent one of the younger boys to go and look for them. When he came back he was shocked, all the men had turned into crazy pigs. ENRAGED PIGS embodies only one of the many legends the Cuicuro are passing on orally from generation to generation. Theatre director, actress and anthropologist, ISABEL PENONI was born in Brazil, in 1979. She is founder of Cia Marginal theater ensemble in Rio de Janeiro, has directed the plays, “Qual e a nossa cara?” (2007) and “O, Lili” (2011). LEONARDO SETTE attended classes in Cuba and France and obtained a degree in Cinema History from Sorbonne. Sette’s first short film, OCIDENTE (2008) won the best film award in Rio’s Film Festival, among others. His first documentary feature, THE HYPERWOMAN (2011) had its international premiere in Rotterdam. Continue reading
THE CURSE is a powerful social parable about the conflict between the personal freedom and the social conventions.FYZAL BOULIFA is a British filmmaker of Moroccan descent. He is the writer and director of several short films including BURN MY BODY, described by Sight & Sound as ‘extreme’, ‘unfortunate’ and ‘expertly directed’, and WHORE, winner of Best UK Short at London East End Film Festival and Grand Prix du Jury at Angers Premiers Plans 2010. This is a brief thought-provoking journey into his aims as a young filmmaker. Continue reading
Winner of the DAAD Award in Berlinale Shorts 2012 and highly acclaim in the international film festival circuit, this wonderfully entertaining musical documentary tells the true life story of Trevor’s great-uncle, Jimmy. Trevor Anderson is a self-taught, independent filmmaker. His work has screened at many major international film festivals, including Sundance, Berlin, and Toronto. Continue reading
THE GENERATION OF SACRIFICE recreates the terror of communist Romania of the 80’s, when the Secret Police aparatus included even very young spies, high school teenagers, convinced to betray their own family and friends. Starting from the Secret Police files, the French filmmaker JEAN CHRISTOPHE makes a sharp and disturbingly topical X-ray of the Romanian mindsets. Continue reading
A young filmmaking student sets to make a film about his grandmother, who always wanted to be a horror film actress.Questioning the border between reality and fiction, DRAWN FROM MEMORY is an intriguing self reflexive short. MARCIN BORTKIEWICZ, film and theatre director, dramatist, screenwriter and actor, was born in Słupsk in 1976 AND graduated the University of Gdańsk and the Andrzej Wajda Master School of Film Directing. Continue reading
PLAYERS portrays a community of 6 poker professionals who live among a larger poker community in Bangkok. While one of them, soberly explains the rules within their community, the artist herself, PILVI TAKALA, plays all the roles. Pilvi Takala currently lives and works in Amsterdam. She graduated in 2006 from Academy of Fine Arts, Helsinki (MFA). Her works are narratives based on site-specific interventions and actions, sort of exceptions in everyday life. Continue reading
The new work of NICOLAS PROVOST tries to redesign the mentality of mainstream cinema, putting a different light on the narrative filmic process. Over seductive images of a plane flying in the sunset, we hear the off-screen dialogue between a man and a woman. Without ever seeing them, they fully appeal to our imagination. Stock footage is cheaper than shooting new material and is mainly used to fill editing gaps in a film or to illustrate a needed lacking landscape. PROVOST shows that it can have esthetic and cinematic value in itself and can tell a story. In this film, he uses nothing but stock footage of a Boeing plane, flying towards a sunset. Continue reading
“Internal Displacements” touchingly explores Transnistria, an enclaved zone, between Moldova and the Ukraine, an unrecognized de facto state situated in the Republic of Moldova. This political entity with its own cultural attributes is not recognized by any country of the international community including Russia where its troops are still deployed. Transnistria has become a region of internal displacement. The music composed by Hans Op de Beeck recreates the pulse of each character and the eclectic rhythm of their space. Continue reading
Esthetically enchanting, with a great appetite for retro-pastoral colors and dream-like settings, KONIGSBERG is a charming „existentialist” tragicomedy, reminding of the absurd humor, the melancholic reflexivity and the painterly aesthetics of Roy Anderson’s cinema, however remaining innerly personal, fresh and provoking. Deeply poetized, KONIGSBERG is daringly worth-watching film, with a rare dry humor: a swirling vertigo of the self. Philipp Mayrhofer, the director of the film, was born in South Tyrol, Italy, but is currently based in Vienna and Paris and this is a brief journey into his beliefs, paths and aspirations as a filmmaker. Continue reading