SHADOWS OF GHANDI (working title)
The project began as fiction then it turned as a personal diary, but it took an impersonal form and became something worth sharing of, over the years the political conversations he had, places he visited as a photojournalist. 'Shadows of Gandhi' is a journey of 8 years of a Filmmaker throughout India and some parts in Italy-France. It's a documentation of Dissents, who took a stance in ‘ the way things are done around here.
A long lived, caring mom and freedom fighter turned human rights activist decides to move to a ecological reserve in the Amazon rainforest together with her daughter and granddaughter. All, while struggling to leave a legacy behind herself.
As a child, I always wondered what life was like for those truckers we would pass in our cars. I was secretly dreaming of their lives to better escape from mine. Twenty years later, I set out to meet them to learn from them, from their relationship to others and to loneliness. The "Silence Radio" project wants to make my childhood memories dialogue with the reality of the road haulier's job.
Holder of art and technical graduation, I wonder about the cohabitation between formatting and the sensitivity that inhabits us. How can we take our place in an industrialized and patriarchal society when we belong to the world of the sensitive?
SUDDENLY MY COURSE HAS CHANGED AND MAYBE THAT WAS THE INTENTION
The point of departure is a night in Brazil during which a friend with whom I have collaborated for almost a decade, mentioned: “White people, filmmakers and anthropologists, come to find out about our sacred places to tell stories about them. Why can’t we see theirs and create stories about them?”. We have talked loudly, also about others, full of ourselves. If there is a way out of the unbalanced and distorting world we find ourselves in today, some answers may emerge from the suggested reversal: who are we, in the narratives of those others we have so long silenced?
83, RUE VERVLOESEM
I want to make a film about my family that takes place in the house I grew up in. I haven't lived there for years. I went back there briefly because I had no choice. The house is more or less empty today, but my father still lives there, alone. I wonder what this is doing to him. Nothing, he says laughing. He says: it's lonely there.
What's so special about my family? Not much really. Well, it's a family like many others, often divided by points of view, today by geography and then by the irremediable distance that has been created over the years. We are sometimes close for other reasons too. I want to find a way and a few links that could, through our common memories, bring us all together again, for a few moments, within the walls of our family home.
Pinkshasa Diaspora is presented as a mosaic mingling Slams, stories, scenes of everyday life and artistic performances of the homosexual community of the diaspora Congolese. These women and men create, reflect, meet and militate in an ephemeral place, the Café Congo.
The Off-Land (working title) considers how the sea offers spaces of ’extraterritoriality’ as coastal geographies shift and people seek new ‘frontiers’ and ways of living. The Off-Land begun by curiously investigating an abandoned World War 2 gun tower off the English coast in the North Sea, which has been occupied by a single family since the 1960’s and at one stage operated as a datahaven, promising the only truly safe place in the world to keep information. The Off-Land has emerged through my simultaneous attraction to the sea, curiosity for the occupation of extraterritorial spaces, and repulsion from their colonial connotations.
THE CITY THAT DOESN'T EXIST
I encounter foreigners in Paris, my estranged hometown I left years ago. Together we help each other in our attempts to reconcile the intangible city we had in our minds with the reality of it. The film is a journey along these gaps and discrepancies and across the city.
BUT I ALSO KNOW A SILENCE
This film is dedicated to the anonymous souls that built the material foundations of Empire. It engages with the figure of the worker in colonial representations that glorify the sublime power of infrastructure. And it does so to think about violence and the tensions between the visible and the invisible, the represented and the (un)representable and the limits of the visible.
SUMMER DAY 1997
After my family and I sought asylum in the UK from Iran, the video camera became a friend and a solace. A way to exist. Sending tapes back and forth between family left behind. Through the use of this home video and materials gathered over the last 25 years, I as the filmmaker examine my father’s journey and the genesis of what is now over 23 years of research into the Quran. His claim to its hidden curing properties, as set out in code. Cures sent down by divine intervention in order to heal us of our worst ailments, Malaria, Dementia and AIDs to name but a few. The direct effects of immigration on his mental health serving as an unavoidable precursor to his research.
SUR LES PAS DE YILDIZ
is the story of the friendship of Yildiz and Sara, two young women, who dream of becoming freedom fighters in Kurdistan. In 1998, Yildiz gets involved in an armed fight movement while Sara renounces. About ten years later, learning of her friend's death, Sara decides to retrace Yildiz' path. On her way, she will meet women and men of very different social origins all engaged in the fight for the liberation of the Kurdish people. The question of commitment, with the Kurdish question as a subtext, is at the heart of the film, whatever form it takes: artistic, political or armed.
THE TWO MOUNTAINS WEIGHING DOWN MY CHEST
38D, a number normal for women in many cultures, reflects a complicated memory of the director’s life. The film follows the journey of her emerging breasts from a boyish childhood, to a tomboy teenager, and the transition to a full-grown woman. It will explore the seemingly absurd sex culture in China, her sexual experience as an Asian girl in Latin American and European environments, as well as the identity and sexuality of woman in today’s society. A humorous conversation thus evolves with a woman’s body, her feminine growth, relationships, and the culture she lives in.