NEAR THE WALNUT TREE
As a child, I was filmed by my mother in the small town of Kiziljurt in Dagestan, where I lived before moving to Belgium. She filmed not only my first years of life but also her beloved sisters who were often together. The camera was an escape from the daily grind of war and the destructive Russian nineties.
What has happened after twenty-five years? The situation, the life in that town, the life of the sisters.
During present time, I take my mother's place to film her sisters.
I follow them in the autumn of their lives. Birth, death, the mountains, the sea, their stories, their desires, their traumas: images that approach reality like a collage.
ROCK, PAPER, SCISSORS
This is a film about stone and stone building as a dying art. About people who can hear stones speak. At the same time, the film is about collectivity and collaboration, as a common challenge and celebration. To build with stone requires many people’s hands. Stone is too heavy to build with alone.
Bridging playful choreographies with personal poetic observations, this experimental documentary centers the memoryscapes of people who work, learn and live through stone building in contemporary Greece. Though the fading tradition of stone building, the film seeks to build an intergenertional space for a feminist reflection of construction narratives in villages and cities. A search for migratory lineages within the building culture of “bouloukia”, alongside a questioning of the silences about women builderesses, become shared queries for an emerging community which gathers to reflect and dream together though a series of curious correspondences and winding road trips.
Following the traces of a black sheep through 20th century colonial history "Karakul" revolves around the question of how a radicalized and nonhuman "Other" has been produced and nurtured by German science and economy. Taking the memory of the archive as a starting point of investigation the project embarks on a subjective journey into the past and present of the human mind. A film about black sheep, bad shepherds and fashion victims.
Photographic aesthetics are a key terrain around which local communities gather in south-west of Pakistan bordering Afghanistan. They bring individual fantasies in touch with a sense of belonging to the local community in the photo studios. So what will happen once they disappear? The filmmaker as a displaced artist lends himself to become the object of the work of local photographers in his region to explore the meaning of photographs in South Asian context where matters of race, ethnicity and gender meet and merge in the context of studios.
LE RAT ET LE ROBOT
The population register of Bruxelles in the year 2021 was 1 219 000 official inhabitants… 2 more millions live clandestinely in the sewers. It is a population with a 5 millions year old history and whose presence is essential to the city's proper functioning and yet, its existence has no value and its image provokes a profound disgust. This film is the story of a city. The city of rats. More precisely, rats filmed by sewer robots.
What do the rats share with humans? How will the robots enter their habitat and observe their lifestyle without scaring them away? Will they be less frightened by a robot? Will they trust it as we trust robots with the task of observation and events recording? What will be the nature of their encounter?
COMMENT ALLER AU CIEL ?
Archetypes and symbols gather in a non-linear world, where narrative becomes a space out
of which situations unfold. The King of Nomansland, the Mother of Stories, a Triangular
Knight, all are looking for shelter within the space of the video but they are confronted with
a fragmented world that has caught up with them.
Comment aller au Ciel? // How to go to Heaven? This question looms over the heads of the
characters in the work and functions at the same time as an invitation for the spectator to
enter an epos-like journey. A most untrustworthy figure, a suited person, will be your guide
and will take you to the heart of this labyrinth.
FANTASIES ON HOW TO STRIKE part II
Fantasies on how to Strike – part II is the 2 nd film as part of an umbrella project on precarious labour in The Netherlands. The 1 st film (2019) featured the work of museum attendants. The 2 nd film, developed at SIC, focuses on Uber cab drivers. By closely observing their work and building intimate contacts with Uber drivers, a critical view on their precarious working conditions becomes manifest. By talking extensively about their job, re-enacting workplace situations and involving the workers as actors, the film is developed together with the drivers. This results in a film that will not merely show but also serve as an act of resistance.
Finding a book in Belgium in his grandfather's forgotten language, the filmmaker is carried away by learning words related to nature. The further he goes, the more he discovers the past life of his grandfather and his homeland. He documents everything in a writing and filming diary that he shares with his mother who still lives in Peru. The new knowledge will allow him to interpret symbols of Belgian nature, his second home, from the darkest day of the year to the lightest, and in this transition a character from his own imagination appears and confronts him with the creation of this film.
ON OUR WAY TO GETTING ORGANISED
A reimagining of collective memories from a south London anarchist archive. A dialogue of past and present voices in conversation with found images and texts make for a chaotic encounter.
Against the violent and dystopic backdrop of a post-brexit Britain, 30 years of collectivity, political tides, repetitions and contradictions are discussed a travers the living, shifting organism of the archive space.
But what do we mean when we refer to political ‘movements’ or ‘scenes’? Can we get closer to understanding some of its achievements or desperations? The film is not the embalming of the past, but a volatile reimagining.
DIOGÈNE, HOMME DE DÉSIR
A fragmented portrait. Mr. A., 84 years old, "lives" in the psychiatric hospital. For years, he has travelled around the city with his trolley, collecting the disparate papers he brought home by the thousands, saturating his flat with a labyrinthine chaos. He is said to have "Diogenes syndrome". He has a dizzying culture and a sharp sense of humour. Images abound. To get him home, I help him to unclog his interior.
oder das Gewicht der Geschichte
I am sleepless.
My mother is sleepless.
And my grandfather was sleepless until he passed away.
History repeats as they say.
Or is it possible to turn the tide?
During an agonizing long night I decide things have to change.
I open the heavy wooden box that is waiting for me, since the death of my German grandfather Theo, 28 years ago.
Inside, the archive that he made especially for me, his only grandchild.
What follows is a detective where past and present slowly get dissected.
Where my grandfather made an archive, I make a film about it.
Can we be autonomous or are we just a product of what happened before?
NATURE MORTE AVEC COLLOCATAIRES VIVANTS
3 houses in Bruxelles. 15 flatmates, from different countries, with different age ranges : they pose for the camera like in a painting or a family picture and they discuss how they experience this particular way of living in a city. The film will follow them and the director, through a domestic investigation and some questions will arise: what kind of fragile balances keep a group of people together? Where does the thin boundary between privacy and common space lie?
Humans and supercomputers interacting with forests to predict futures in face of climate change offer an inquiry into practices of forecast as well as how language, imagination and technology govern society. Inspired by the Amazonian mythology of singing trees this film investigates through the materiality of the sounds and «image skins» handed down by the Amoahi-trees as well as provided by climate models our relationship with nature and future. People and machines that actively listen to trees reflect who does interpret and negotiate forest voices and how its applications shape the perceptions of the forest, culture and future worlds to come.
HALF THE WORLD
Three stories of so-called wild women. Women who have gone wild, escaping into the woods from the violence of society. Unfolding the fascination that this radical choice gives rise to, Half the World proposes to see them as heroines of a herstory, as highly poetic and political characters. The film will be constructed from snippets of narrative and gestures interpreted by several women who will be in a position to embody them. The aim is to restore their stories by opening it up to interpretation. Various places will be crossed by the camera while the performers will draw gestures, in a spirit of distant reenactment rather than accurate reconstitution.
Interrogatórios (interrogatory) is an investigation around meeting the other in front of a camera. Thiago Antunes wants to build a performative and audiovisual device through a series of meetings with Ecuadorian artist Esteban Donoso, to be recorded and edited during the research period. Exchanging the roles of guest and host, they create temporary territories to welcome each other in, referring to their shared immigration issues in Europe.