Clint Roenisch Gallery is pleased to present our summer group show, A Temple Most August. The exhibition brings together artists from London, Vienna, Moncton, Brussels, Toronto, Santa Fe, Montreal and Brooklyn, presenting paintings on silk and linen, glasswork, photography, an amphora, photocollage, textiles, embroideries, and a mesmerizing film. After a trying winter and reluctant spring the exhibition heralds the unfurling of more canicular days, verdant and open, the senses receptive. In 1672 a haiku master in Edo began to attract a steady following of disciples, who supplied him with a small hut in which he could write and teach. A banana tree, exotic to Japan, was planted in front of the hut, and pleased the poet so much that he took for his writing name “Bashō,” the Japanese word for “banana plant.”
“Temple bells die out. The fragrant blossoms remain. A perfect evening!”
– Bashō, circa 1688
Featured Artists Abdul Sharif Baruwa Anna Torma Emma Talbot Heather Goodchild Jennifer Murphy Lorna Bauer Lynne Sachs Sarah Cale Willard van Dyke
The most important question for us in a post-pandemic period was:
Do we really need a film festival?
Even when we haven’t return to a total recover, we still need
vaccination the total of our population, people are now suffering so many
losts, and the virus is still out there.
But the answer to all of this is questions is yes! we need to make
reality, the festival again here in Banja Luka. If we believe in images as a
language of encounter, in the role of the independent voices and the power of
the community, then a film festival is not a distraction or a non-essential
activity. It’s actually a necessary coming together.
We want to make sense of our moment, and to try to re-imagine how
important is the art in our past time of isolation, in our daily life and in
our dreams of a common future.
See you in the cinema soon, and please:
Don’t forget your mask!
About selection
The selection of this year proposes a fluid cartography that
explore our current situation as humans. It is more than evident that the
pandemic changed the whole society and these dramatic changes and new scenarios
also affect films, cinemas and the way “we see”. The current situation with
Covid-19, will also be reflected in this year’s festival program, not only in
terms of safety measures and limited audience, but also in the form we propose
the narrative of this edition that we name it: Re-imagine audio-visions: The
present as our future.
For the image of this edition (the poster) we selected the
portrait the now famous cover of the Italian magazine La Domenica del Corrier
(16, December of 1962), by Walter Molino, where we can see a saturated street
of New York, with people in their individual transportation, in a kind of an
“individual-personal bubble”, that is actually a “singoletta” (personal
bicycle), imagined by Molino as a solution for traffic, but with the pandemic
and the social isolation in context, we cannot avoided to connected his
retro-futuristic creative projection of our surreal present, here is why we
re-call the edition; The present as our future. With this premise in mind, our
selection departs precisely from the future. The first day of Cinema Parallels,
we will open with: Space Dogs režija: Elsa Kremser and Levin Peter, followed by
Lúa vermella režija: Lois Patiño, both films projecting contexts in resemble
mirror format, we will see realities from an equidistant visualities.
With this premise in mind, our selection departs precisely from
the future. The first day of Cinema Parallels, we will open with: Space Dogs
režija: Elsa Kremser and Levin Peter, followed by Lúa vermella režija: Lois
Patiño, both films projecting contexts in resemble mirror format, we will see
realities from an equidistant visualities.
The second day of the festival we will have Srećan Božić, Yiwu
(Merry Christmas, Yiwu) režija: Mladen Kovačević, followed by LYNNE SACHS
TRIBUTE with the Washing Society, Tornado, The Small Ones and E•pis•to•lar•y:
Letter to Jean Vigo. The second day we are focused on a retro-visor mirror,
about our social and geo-political contexts, and the last day of festival is
dedicated to the personal, to our bodies, to our house and intimate spaces,
this day we take “our dressing mirror”, we will project Things We Dare Not Do,
režija: Bruno Santamaría.
We will close with a regional documentary selection of shorts that
we name PARALLELS JOY: Sunce, vrati se (Sunshine, Come Back) režija: Milica
Jokić, Korijeni režija: Stefan Tomić, Osamdeset dinara (Eighty Serbian Dinars)
režija: Inma de Reyes, University of Disaster and Dreaming of Prey to Grasp
Shadow režija: Radenko Milak and Zašto mama vazda plače? (Why is Mom Always
Crying?) režija: Karmen Obrdalj.
The pandemic has severely hit the entire audiovisual sector and
the situation remains critical in many places, therefore, it is important to
organize a film festival, but also, is important to support international and
local filmmakers and films. We think in the cinema as a place of resistance; we
believe that seeing a movie with other people in a theatre is a powerful and
irreplaceable experience, and also is a key place for the encounter with other
visions and expand our points of view, at the end, is all about to be exposed
to different contexts, realities and images, and from there try to understand
us more and more as society, as humans.
See you at the cinema!
Adriana Trujillo
Program
Thursday, June 10
18.00 Festival
Opening
18.15Space
Dogs / Dir. Elsa Kremser and Levin Peter / 91 min. / 2019
/Austria – Germany
(Q&A:
with Simon Peter, Sound Designer of the film)
20.30 Red Moon Tide Dir.
Lois Patiño / 84 min. / 2020 / Spain
Friday, June 11
18.00 Merry Christmas, Yiwu / Dir.
Mladen Kovacevic / 94 min. / Serbia
(panel discussion with representatives of the Confucius Institute, University
of Banja Luka) 20.30 FOCUS ON LYNNE SACHS The Washing Society / 44
min. / 2018 / United States Tornado / 4
min. / 2002 / United States The Small Ones / 3
min. / 2006 / United States E•pis•to•lar•y: Letter to
Jean Vigo / 5 min. / 2021 / United States
Saturday, June 12
18.00 Things We Dare Not Do / Dir. Bruno Santamaría / 75 min. / 2020 / México 20.00 PARALLELS
JOY: DOCUMENTARY SHORT FILM SELECTION
Sunshine, Come Back/ Dir. Milica
Jokic / 12:23 / 2017 / Serbia The Roots / Dir. Stefan Tomic
/ 15:40 / 2020 / Bosnia and Herzegovina Eighty Serbian Dinars / Dir.
Inma de Reyes / 10 min. / 2019 / Serbia University
of Disaster / Dir. Radenko Milak / 13:21 / 2017 /
Bosnia and Herzegovina Dreaming of Prey to Grasp Shadow / Dir. Radenko Milak / 6:45 / Bosnia and Herzegovina Why is Mom Always Crying? /
Dir. Karmen Obrdalj / 15:38 / 2019 / Bosnia and Herzegovina
(Q&A: Panel with short film directors, producers, artist and filmmakers)
About
Cinema Parallels
Cinema
Parallels is devoted to supporting independent and innovative films, screening
cinema of the real in all it’s forms and diversity, through a special
curatorial selection of international and regional contemporary films in the
heart of the Balkans.
Cinema Parallels will celebrate its second edition during spring in Banja.
Cinema Parallels is organized by Video Kabinet developed with the support of
the Ministry of Culture of the Srpska Republic and in partnership with Gradsko
Pozorište Jazavac.
Background
The art
should ask questions, for which there are often no answers, that it is the
basis for the exchange of ideas. Films encourages critical thinking, freedom of
expression and creativity, and only then ceases to be goods and entertainment
and become culture and art. A culture makes the identity of a city, state, or
country. In this context, a festival of contemporary cinema is absolutely
necessary for Banja Luka as a epicenter of the Republic of Srpska.
Cinema
Parallels born in 2019, with the main idea to develop a place to share, an
encounter of unique points of views that are been able to question our world.
We are dedicated to program and support moving-image works with singular voices
in productions from all around the world in different formats, capturing
reality from a different perfective and a wide range of contemporary
non-fiction, and bring this productions to the city.
Last year,
our festival, like all other cultural projects was postpone.
We explored
the possibility of a virtual encounter, buy finally we decide to continue in
2021. We wait until now to recover experiences, audience and images, with the
firm and original purpose to keep confronting our world. Believing that films
are a point of encounter and a universal language, keeping the idea that in our
unprecedent time, conversations and encounters are now act of resistance.
The Onion City
Experimental Film & Video Festival, presented by Chicago Filmmakers,
opens on Wednesday and runs through June 13 with a mix of online screenings and
in-person events. While all of the online group screenings are available for
the full length of the festival, we are splitting our reviews over this week’s
list and next week’s, based on when the Q&A sessions are scheduled; check
next week’s list for additional reviews. The full schedule and more info are here.
Program 1: Family Time Changes
Available to view between June 9 – 13; purchase tickets here
The vagaries of memory and assumptions made in the absence of real information are the subjects of director Paige Taul’s TOO SMALL TO BE A BEAR (2020, 5 min). Taul interviews her sister Jessie about their father, a short man nicknamed Cub who lost his chance to play professional baseball because he missed the bus going to the Negro League tryout. As Jessie theorizes that this unrealized ambition made him give up on his life, we see archival footage that focuses on No. 15 of the Indianapolis Clowns, a team that played in the style of the Harlem Globetrotters. His clowning seems to stand for the hopeless man who became a drunk over his missed opportunity. When Taul turns to her mother for reminiscences about her husband, the film cuts in and out as Dorothy tries to remember who played which positions. All that remains for her is the enjoyment baseball brought to the community. Luis Arnías’ MALEMBE (2020, 12 min), filmed in both Venezuela and the United States, is a memory film of a South American immigrant to the U.S. In Venezuela, we see a young boy in a soldier’s uniform in front of a bronze bust of some long-ago hero; is he a stand-in for Arnías? A parade, some elderly women sitting in a sunbaked courtyard, an abandoned ballpark with the sound of voices and crowds of years past—all give way to a winter scene, and a white woman and a young girl shoveling snow, and Arnías’ beloved tropical fruit frozen and unpalatable. As he chokes on some seeds, he spits out his tongue, his native language no longer acceptable in a country where his people clash with the police. With AVANTI! (2020, 8 min), EJ Nussbaum takes a short dive into the world of Antonio Gramsci, the Italian Marxist founder of the Italian Communist Party who was imprisoned by Mussolini’s Fascists in 1926 and died a few days after his release in 1937. In three vignettes, Nussbaum dramatizes Gramsci’s poetry and philosophical writing. Most touching are his letters to his son, Giuliano, whom he never met, and his meditation on whether loving the masses is really possible if one doesn’t love someone personally. Amusingly, he criticizes the quality of the photos his wife sends him, but admits they are still of interest to him. Amber Bemak and Angelo Madsen Minax’s video TWO SONS & A RIVER OF BLOOD (2021, 11 min) considers containers—pyramids, empty rooms, wombs—and how they are filled. The sexy beginning celebrating procreation and the anticipation of new life gives way to a sad, matter-of-fact consideration of emptiness. In the final scene, the filmmakers affirm that life goes on. In MAYA AT 24 (2021, 4 min), Lynne Sachs turned a fanciful gaze on her daughter, Maya Street-Sachs, through images she filmed in 2001, 2013, and 2019 running and spinning. The black-and-white images are overlaid with created film dust and pops, as well as intricate, animated designs that suggest the increasing complexity of the person Maya has become. Loving and beautiful, Sachs’ short is mesmerizing. In BORDER (2020, 5 min), Bryan Angarita recalls the day his brother was denied entry into the United States and how their mother visits him in the border town where he lives. The opening image of a tree-lined river viewed through what appears to be a screen window becomes obscured as the lines of the screen shift and reconfigure themselves as a border fence, a gun sight, a target, and other forms. The plain, black-and-white title cards seem devoid of emotion, but the Google Earth logo in the corner of many of the images speaks to the constant surveillance Angarita senses. LETTER FROM YOUR FAR-OFF COUNTRY (2020, 18 min) puts director Suneil Sanzgiri and his father together through Zoom and text messaging to discuss their family history, specifically, Prabhakar Sanzgiri, a writer, activist, and Communist Party leader in the Indian state of Maharashtra. Inspired by a prose poem written in the form of a letter, the director writes to his long-dead relative with news and questions, particularly about the 1989 rebellion in Kashmir that led to the death of Safdar Hashmi, a communist playwright and director, and the disappearance and murder of thousands of people. History, Sanzgiri says, runs through the personal lives of those who live it. His mission is to discover some kind of truthful continuity through art. [Marilyn Ferdinand] — Artist Q&A for Program 1 is on Wednesday, June 9 at 7pm; register here.
Collective audiovisual project that leads to a set of letters filmed for the love of cinema.
Synopsis
Garbiñe Ortega, artistic director of Punt de vista, conceived the creation of a collective audiovisual project in which several filmmakers made a filmed letter addressed to another filmmaker they did not know personally and which was as far away as possible from the his own cinema. Thus was born ‘The letters that were not also are’.
Ten
short films that find a new dimension when shown together. The result is
an exciting journey through their affinities, their admiration and their
creative processes. These are the letters that make it up:
Deborah Stratman to Nancy Holt Lynne Sachs to Jean Vigo Alejo Moguillansky to Michelangelo Antonioni Raya Martin to Wes Craven Jessica Sarah Rinland to Chick Strand Diana Toucedo to Danièle Huillet Beatrice Gibson to Barbara Loden, Nina Menkes and Bette Gordon Nicolás Pereda to Chantal Akerman
Zumzeig Cine is a cooperative and participatory cinema with programming and other cultural activities in Barcelona, Spain.
Screening dates are 14.08 (19:45) Garage Screen, 15.08 (00:30) and 15.08 (14:00) Illyuzion cinema. https://mieff.com/events/girl Country: USA Year: 2021 Duration: 4 minutes English language Format: DCP Age limit: 18+
Lynne Sachs and her daughter Noah co-created this film with poet Anne Leslie Selcer during the 2020 pandemic. In a shaky and unsettling homely atmosphere, Noah’s heroine tirelessly arranges and rearranges a collection of small mysterious objects that illustrate the poem that sounds off-screen. It was based on a disharmonious list of nouns borrowed by Selser from Georges Bataille’s essay “The Solar Anus.” The set of actions that the girl performs is reminiscent of a ritual and resonates with the tone of a poem devoted to the problems of representation, power and gender.
International Competition
We are happy to announce the International Competition programme of the 6th Moscow International Experimental Film Festival. It includes 29 works by filmmakers and artists from all over the world. Many among them try to look with new eyes at the places humans inhabit, while employing different methods of working with memory, history, and heritage. The others are focused on practices of care, survival, and accepting death, on new forms of human coexistence and resistance to colonial regimes, on various effects produced by the digital environment, as well as on relationships between humans, technologies, and nature. All these themes have become increasingly important during the COVID-19 pandemic. Soon we will tell you more about these films, announce this year’s Russian competition and unveil special curatorial programs.
80,000 Years Old, Christelle Lheureux All of Your Stars Are but Dust on My Shoes, Haig Aivazian Autotrofia, Anton Vidokle The Bearers of Memories, Miglė Križinauskaitė-Bernotienė Before the Collapse of Mont Blanc, Jacques Perconte Blastogenesis X, Conrad Veit and Charlotte Maria Kätzl The City Bridges Are Open Again, Masha Godovannaya earthearthearth, Daïchi Saïto Failed Emptiness. Time, Mika Taanila Girl Is Presence, Lynne Sachs and Anne Lesley Selcer Glittering Barbieblood, Ulu Braun Green Thoughts, William Hong-xiao Wei The Home My Mother Never Found, Mehdi Jahan In Ictu Oculi, Jorge Moneo Quintana Letter to a Turtledove, Dana Kavelina Letters about the End of the World, Dina Karaman Maat Means Land, Fox Maxy No One Cried, Daniel Jacoby One Hundred Steps, Bárbara Wagner and Benjamin de Burca One Thousand and One Attempts to Be an Ocean, Wang Yuyan Sensory Overload, Ganza Moise Sol de Campinas, Jessica Sarah Rinland Songs for Dying, Korakrit Arunanondchai Tellurian Drama, Riar Rizaldi Tonalli, Colectivo Los Ingrávidos Tracing Utopia, Nick Tyson and Catarina de Sousa Transparent, I am, Yuri Muraoka A Very Long Exposure Time, Chloé Galibert-Laîné We’ll Find You When the Sun Goes Black, Anouk De Clercq
Nathaniel Dorksy at MIEFF
https://mieff.com/program/dorsky The works of American avant-gardist Nathaniel Dorsky will be shown for the first time as part of the annual Close-up section of the MIEFF Moscow International Experimental Film Festival in Russia
About
MIEFF is a platform for everyone who creates, takes interest in or otherwise engages with the moving images. Our main goal is to support Russian artists and introduce them to the international community, as well as help experimental cinema reach a wider audience.
We want to create spaces for dialogue and therefore we believe it important to enrich the intellectual context surrounding film and contemporary art instead of reducing it to univocal ideologies. This is achieved through a carefully curated program of screenings, public and educational events, where different viewpoints and voices are all welcome.
We also understand that if we want to be in tune with the ever-changing reality, we need to keep experimenting. Experiment for us is a method and not an empty label. We want to try different ways to organize horizontal teamwork, distribute responsibilities, and finance our whole endeavour. We want to find new opportunities for ethical partnerships and transparent communication with each other—and everyone who participates in the life of our festival.
At the moment, the festival structure includes international competition, Russian competition, retrospective section Close-Up, special screenings, curatorial multimedia block as well as an interdisciplinary educational programme called Extracurricular Practices.
MIEFF was founded in 2016 by Vladimir Nadein and Ekaterina Shitova. Now it operates as an independent non-commercial organization and is managed by the board, which includes (listed in the alphabetical order): Kristina Efremenko, Dmitry Frolov, Mariam Ismailova, Sophia Ismailova, Marianna Kruchinski, Anna Naumova, Kirill Rozhentsov, and Margarita Sokolovskaya.
US experimental filmmaker, photographer
and poet Lynne Sachs’ new short E•pis•to•lar•y: Letter to Jean Vigo (screening
June 6 as part of Let’s Start Again at the Sheffield Doc Fest) offers an
unusual meditation on the events of January 6, 2021, when protesters stormed
the United States Capitol in Washington.
Sachs’ point of reference appears to be
French anarchist director Jean Vigo’s 1933 film Zéro
de conduite, about school kids staging a revolt against their teachers.
Vigo’s film, though, doesn’t feature in the short. Instead, alongside TV
footage of the riots in Washington, Sachs includes clips from Peter Brook’s
1963 screen adaptation of William Golding’s novel Lord
Of The Flies, in which a group of British school kids stranded on a desert
island behave in barbaric fashion.
Several years ago, Sachs was at the Punto
De Vista documentary festival in Pamplona. There, she met Vigo’s then very
elderly daughter, Luce Vigo. “One night, she and I were walking back to the
hotel together, and it was snowing. It was in March so nobody was prepared. We
were walking through these wonderful old alleyways of Pamplona where the bulls
run at other times of the year. We had to hold hands. It was such a bond that
we became dear friends just through that tactile intimacy.”
Luce died in 2017. However, Sachs still
thinks very fondly of her and talks admiringly about how Luce fought for her
father’s legacy. That’s one reason why her new short refers to Vigo in its
title.
A key difference between Zéro de conduite and the attack on the
US capitol is that most viewers will identify with the rebellious kids in the
former film but only die-hard Trump supporters are likely to approve of the mob
that attacked Washington.
“I love Zéro
de conduite and I love their [the kids’} misbehaviour and I love that
they challenge the authorities, the teachers and the older generation. They
have this whimsy and irreverence,” Sachs reflects. “Then I look at a film and a
novel like ‘Lord Of The Flies’…”
One question her film asks is when do “we
go from innocence to culpability?” The storming of the Capitol just didn’t seem
like an example of playful, Vigo-like revolt. It was far more sinister than that.
“I’ve made a lot of films about protests
and so I like the idea of breaking the law when you believe that it is the
wrong law. I really do! I am a total believer in civil disobedience but this
was not civil disobedience. This was violence.”
On January 6, Sachs remembers she was
giving an interview about her feature doc Film About A Father
Who (which screened in the Sheffield Doc Fest last
year). She and the journalist were both taken aback by what was going on in
Washington. “We were like, what is happening right now! Then both of us went
back to our normal life. Both of us were checking it on our phone. It seemed it
unravelled in this way we couldn’t predict. Going back to Zero De Conduite, it was naughty protest and
then it turned…it turned into violence, I could say violence for violence’s
sake.”
In the film Sachs includes a line that
“childhood isn’t swathed in innocence.” Ask her what kind of kid she was herself
and she replies: “I’ve got to say I was a pretty well behaved little girl…I
don’t have a sinister period in my childhood.”
It was many years later, in 1999 with the
high school shootings at Columbine, that she realised just how dark childhood
could sometimes turn. “I already had two children at that point. I remember
very, very vividly watching the reports from the high school in Colorado and I
remember thinking what would it be like to be the parent of a boy or a child
who killed for intention and killed because killing was something that brought
him pleasure.”
Sachs has recently started The Company We Keep, a new essay film
inspired by the hundreds of business cards from people she has met all over the
world. “I am interested even in the forensics of the cards and the
fingerprints,” she says of the project. Some of the cards are over 30 years
old. The film will give her a chance to explore what has happened to the cards’
owners.
The director cites Chris Marker’s San Soleil as a big influence on the
work. She once collaborated with Marker and admires the way his films “allow
for constant detours but then comes back to the vertebrae point.”
Sachs’ brother Ira Sachs is an acclaimed
filmmaker whose most recent feature Frankie premiered
in Cannes in 2019. Yes, they do support each other. They also have a sister,
Dana, who is a successful author and journalist. So where did all
this creativity come from? “My mother used to say she lets us do what we wanted
to do – and she was very good at buying crayons.”
E•pis•to•lar•y:
Letter to Jean Vigo was
commissioned by Punto De Vista director Garbiñe Ortega as part of a Filmed
Letters collection, in which authors addressed their creations to other
filmmakers. “She (Ortega) asked 10 of us to make a film and they gave each of
us 400 Euros. Actually, my film did not cost that – so I made a profit!”
E•pis•to•lar•y: Letter to Jean Vigo is a UK premiere at Sheffield Doc
Fest as part of Let’s Start Again, Sun 6 June.
Conversation With 100 Artists, 100 Interviews During Post Coronavirus
ABOUT THE PROJECT: Let’s start with Decartes’ famous quote: I think, therefore I am. Although Decartes did not put much value on the body, he did not deny the body and he used his imagination and emotion to reason for the body’s existence. Kant also considered the body outside of time and space. Merleau-Ponty believes that phenomenal perception is a bodily experience rather than a mental one. To him, we are embodied documents; The body becomes contextualized in this world. It is our outlook to the world, as well as our anchorage to the world. His famous saying is: “For seeing, one has to look.”Michelle Foucault in his Ideal Body (1966) says: This body is light, transparent, and unaffiliated. Nothing is as thing as the body. It runs, it interacts, it lives, it desires, and it without any resistance allows my desires to pass through it. Yes, the day I have pain, when a hole is dug inside my abdomen, when it gets blocked, then swallowed, when my throat and chest are filled with pain, when deep inside my mouth a tooth hurts, this is when I am not weightless and free. I then become a thing, a dreamed architectural construction that is now a ruin. In fact, there is no need for magic or spells, for spirit and death. In order for me to be opaque and transparent, visible and invisible, life and thing, and for me to be ideal, all I need is to be a body.Our bodies are meaningful political forms which go through transformations throughout their lifetime. In a way, our bodies have gone beyond the skin, meat, and bones. Our bodies revive a cultural context influenced by the surrounding world inside and outside. The body not only influences the shape of our agencies and the human events but is also influenced by the same factors.We are in our bodies but in distance. The body’s cultural meaning in each geography is different according to the history of that same geography including its past, forms, and architecture. The body’s contemporary environment creates a different communication language. We are alienated from our very own bodies and we feel our existence through touching another. We understand the meaning of body through touching another body.Our bodies are stolen and confiscated from us by the virus phenomena. Our bodies are captivated and imprisoned by our fear of death. This collective experience has expanded our definition of relationship and our concept of elimination. The presence of body in relation to another body, looking in each other’s face, and touching one another is eliminated from the body’s daily life. In order to understand existence, we refuged to sound, hearing, and speech.This project is made of conversations with different artists whose works explore the experiences our contemporary moment and capture the feeling of being, as well as constant search for recycling the body. The project is inspired by the famous Decartes’ saying: I think, therefore I am. We used Instagram as a platform to think “live” together, and to communicate those thoughts to bodiless “live” listeners to recycle their bodies together. This project will become a book in both English and Farsi to record the memories of bodilessness in the moving times of COVID-19 for the future generations. The aim is to make possible to read the thoughts of the bodies, as well as to make sense of the transformation of their identities during this time.
Mania Akbari (b. Tehran, 1974) is an internationally acclaimed artist and filmmaker. Her provocative, revolutionary and radical films were recently the subject of retrospectives at the BFI, Lon- don (2013), the DFI, Denmark (2014), Oldenburg International Film Festival, Germany (2014), Cyprus Film Festival (2014) and Nottingham Contemporary UK (2018). Her films have screened at festivals around the world and have received numerous awards including German Independence Honorary Award, Oldenberg (2014), Best Film, Digital Section, Venice Film Festival (2004), Nantes Special Public Award Best Film (2007) and Best Director and Best film at Kerala Film Festival (2007), Best Film and Best Actress, Barcelona Film Festival (2007). Akbari was exiled from Iran and currently lives and works in London, a theme addressed in ‘Life May Be’ (2014), co-directed with Mark Cousins. This film was released at Karlovy Vary Film Festival and was nominated for Best Documentary at Edinburgh International Film Festival (2014) and Asia Pacific Film Festival (2014). Akbari’s latest film ‘A Moon For My Father’, made in collaboration with British artist Douglas White, premiered at CPH:DOX where it won the NEW:VISION Award 2019. The film also received a FIPRESCI International Crit- ics Award at the Flying Broom Festival, Ankara.
FREE for filmmakers and IN&OUT PASS HOLDERS!! According to Freud’s theory of dreams, our day residue is composed of the memory traces left by the events of our waking state. In this workshop, we explore the ways in which fragments of our daily lives can become material for the making of a personal film. While many people in the film industry rely upon a chronological process that begins with the development phase and ends with post-production, our interaction will build on an entirely different creative paradigm that encourages participants to embrace the nuances, surprises and challenges of their daily lives as a foundation for a diaristic practice.
SYNOPSIS: From 1984 to 2019, Lynne Sachs filmed her father, a lively and innovative businessman. This documentary is the filmmaker’s attempt to understand the networks that connect a girl with her father and a woman with her brothers. With a nod to cubist representations of a face, Sachs’s exploration offers simultaneous and sometimes contradictory visions of a seemingly unknowable man who publicly uninhibitedly stands in the center of the frame, but privately takes refuge in secrets. As the alarming facts add up, Sachs, as a daughter, discovers more about her father than she ever expected to reveal.
Poster created by Kino Rebelde, International Sales Agent / Representative of Film About a Father Who.
