Recapitulation, an autobiographic essay-documentary.
The film is an examination of personal thoughts and feelings of the author, during everyday life in rhythm with nature. Origin and main site of the film is a remote circus caravan in the midst of the wide meadow landscape on the verge of Belgium. The project aims for the authors desire for self-contemplation and understanding. In search for a form of spirituality, for an immediate relationship to surroundings (light, wind, birds, seasons…), for memories of a family’s story, for the presence of the past and for ties to present time.
On April 26 of 1986, Chernobyl Nuclear Power Plants Reactor No. 4 exploded after tests were improperly carried out and the operators lost control. The burning graphite cloud initially traveled in a northwest direction toward Sweden, Finland, and Eastern Europe, exposing the public to levels up to 100 times the normal background radiation. In Gomel, a city in Belarus located 140 km away from the source of radiation life continued despite the radioactive threat. This is the background for a meeting of two friends who did not see each other for more than twenty-five years. arkadizaides.com
The A-Team is a short, animated documentary in which a group of friends reminisce about their Ghanaian high school's exchange trip to America nearly ten years earlier: but the more they remember, the uncannier it becomes.
In 2010, 15 high schoolers from Tema, Ghana arrive on a weeklong exchange to Jackson, Mississippi. For many, the bizarre encounters that follow, become a crash-course on US history and race-relations. With an afternoon at the county fair, their first day is a delight. But for some, things quickly take a turn: from being bused around all day to sing and dance at rich majority-white institutions, to being taken to a cotton plantation and encouraged to pose in the fields and pick cotton for souvenirs. Though the teens can't put their finger on exactly what, something feels off.
Kouté vwa (listen to the voices)
Kouté vwa is based on Maxime's father's participation in the French film "Jean Galmot adventurer", as well as the Affair of the Cayenne Insurgents (1928-1931). Today, Maxime is wondering about this colonial representation in which his father was an extra.
The project intertwines micro-histories specific to the former participants of the film, with derivatives of the real facts, as well as Maxime's family members. By proposing a re-reading of the original film, Kouté vwa tries to produce another performance of this story and questions how the traumas of the past re-apear in the Guyanese identity, in the bodies, the architecture, the territory.
A project carried out in collaboration with the discursive platform Sasé istwé, co-founded by Elli Vassalou and Maxime Jean-Baptiste, who sees himself as a participatory research tool, where the archives of this history are reactivated through a creative dialogue with people living in French Guiana and the Guyanese diaspora in Europe. saseistwe.wordpress.com
‘After my father and grandfather, I am filming my family today. Behind the void left by my father’s camera, I discover the story of my mother: her difficulties to live and thrive as a housewife.’
From the moment I was born, I have been filmed endlessly, from every angle, by my father, a film director. Those images became my memory. But I feel, today, that there is another reality hidden underneath those embellished images. Will those images be able to tell me the truth about my mother’s tragic destiny ?
Atlas (working title)
As a photographer aboard the Aquarius, Hara met Max.
Max is the leader of the team that carries out the rescues of migrants at sea. They make some trips together. Struck by the ban on travel imposed on the boat, which lost its flag allowing it to land, condemned to stay ashore, Hara decided to make a film. A letter to the child she’s expecting from Max.
In this letter are Hara’s personal memories, her meeting with Max and some of the stories heard on the boat. Migrants tell about their journeys, their
lost houses. Is there a common bond between us? Is there a common history?
Hakaza Takoun al Hayat (how life should be)
Essay film. Three generations, a border, a love story and the future.
“How life should be” unfolds around the story of my 3 year old Belgian born son, Adam, and his imaginary future life. Unlike his Israeli father, Adam can enter both Lebanon and Israel and have family on both sides. One can look at this fact as a fortunate event, or as a curse; both ways, it comes with a price. Interacting with the past - through specific historical anecdotes, and a series of personal childhood home footage from post war Lebanon of the eighties - This film follows the directors’ family life and crosses the borders of the two enemy countries, using a very intimate narration.
“How life should be” is about questions and answers that arouse from the contradictions that society conditions us with - those we find, and those we are still looking for.
Diabetes Film Diary
The announcement of the imminent arrival of a treatment for insulin-dependent diabetes is the starting point for a self-study, a real hand-to-hand study between the director Matthew Lancit and his illness. Diabetes has been affecting his body since childhood. How much of it will be eradicated with the disease? What Matthew had started as a nostalgic filmed diary is gradually contaminated by his own imagination of possible futures. This leads to phantasmagorical and burlesque representations of diabetes and its effects on the body. Introducing monstrous elements into the daily life of his life
domestic and family, he appropriates imagery from horror films and asked how to create an image of an invisible disease.
Rina Cingolani is 82 years old. With her friends, she shares the same past: that of emigration. The same mourning: that of the husband. And the same desire not to mourn as we approach a common future: the great reaper. Together they go out, eat, dance. And God willing! They'll go to Banneux!
The film follows the travels of these women from 75 to 87 years old, between public transport, cemetery and café-crêpes. Season after season, we will see them going out together to enjoy, with a lot of "ouch", "ouches", coal and other shouts, the Chinese restaurant, the French fries, the spaghetti, the dance. The film will show the lack and the ever-palpable presence of the deceased husband, if God wills!... For God is at every corner of the sentence, just as their men, now in heaven, are at every corner of the street, table, garden, bedroom, sofa.
And as my mother would say: Your father is in the place of Truth (in heaven), and I am in the place of Lying (on earth)... but still, he was a bore.
In the village where I grew up, in springtime people gather every early sundaymorning to play a finchgame. A street is being cut off from its daily rhythm to be filled with finches in their cages. During one hour the voices of the inhabitants are silencing just to listen to the songs of the birds and count them. Lately the finchgames seem to be disappearing out of the weekly village rituals. Older generations are trying to pass their passion to younger generations but it seems like the finchgames don’t fit into rhythm of the villages anymore and that their last days are counted.
Ni vu ni connu (working title)
.. is an experimental documentary film departing from a pair of “before and after” daguerreotypes to dig through different layers of disremembering. Made in 1848 with the explicit intention of rushing them to publication, these images display seemingly desolate barricades prior to and after a clash between revolutionaries and the French National Guard. The slow shutter speed prohibited the actual event to be captured, yet the gap between these two separate photographs creates a cinematic space where visible and invisible impressions collide.
It is from this space that the project looks at our ongoing need for intricate processes of interpretation, focussing on how aspects of invisibility can lead to fear and more specifically at how the working class is being misrepresented and rendered invisible. Mixed with personal footage and elements of fiction, the film probes the myths around class and considers the struggle for recognition and visibility.
Liberty: an ephemeral statue (working title)
Liberty is an experimental documentary reflecting on post-68 desires for emancipation, education, and emigration. Revolving around a personal account of a search for liberation set in the US during the early 70s, the themes of changing socio-political climates, emancipation of young women, family communication, interconnectedness and the constant conflict between connection and disconnection overlap three generations of women–grandmother, mother and daughter. elephy.org