Catalogue 2024
Parcourez ci-dessous le catalogue 2024 des Rencontres Internationales, ou effectuez une recherche dans les archives des oeuvres présentées depuis 2004. De nouveaux extraits vidéos sont régulièrement mis en ligne, les images et les textes sont également progressivement mis à jour.
Oleg Chorny
Kyiv in the Days of War
Documentaire | 4k | couleur | 3:9 | Ukraine | 2022
On the 24th of February 2022 Russia launched a large-scale invasion of Ukraine. In the beginning of April the first massive attack of Russian troops was repulsed, but Kyiv is still suffering by air strikes. There are traces of war on the streets of the city. Defensive structures are ready, because the enemy could attempt to occupy the capital of Ukraine again. Despite this the residents of Kyiv are trying to maintain habits of peaceful life, but the war continues.
Born in 1963. Graduated from the film director’s department of the State Institute of Theatre and cinema in 1985. Worked at the Olexander Dovzhenko State Film Studio in Kyiv, various governmental and non-governmental film and video studios. Shot a number of feature shorts, documentaries, ecological and promo films and musical video clips. He is member of the Ukrainian Filmmakers Union. His short feature movies and documentaries participated at the programs at the Ukrainian and international festivals. In 1996 Oleg Chorny and Gennady Khmaruk (w.b. 1972) has founded the non-profit creative unit “SAMPLED PICTURES”. A number of videos created by “SAMPLED PICTURES” were presented at the various film and video festivals, exhibitions and club screenings.
Saddie Choua
The Chouas #Episode 5 Am I the only one who is like me?
Vidéo expérimentale | mov | couleur et n&b | 48:0 | Belgique | 2018
The Chouas #Episode5 Am I the only one who is like me? (’45) The Chouas started from an old photograph of Saddie Choua’s father and his four brothers. Three of them emigrated to Belgium. One turned back. Two stayed in Morocco. Who made the best choice? The Chouas are an ongoing lifework in episodes, an artwork in which the alienation of the immigrant families in Europe, the self-portraits in the Diaspora, the specters of the homeland are explored in multiple narrative threads and media. It will e.g. refer to soap series and other popular formats and will invite the viewer to discover the structures of stereotypical image-formation, dominant codes and partial histories. Am I The Only One Who Is Like Me? is the fifth episode of The Chouas, through which Saddie Choua depicts her own family, expertly mixing autobiography with fiction and personal and political considerations. With this fifth episode, made up of archive images, film extracts and television sequences, the artist prolongs her interrogation of self, hierarchical systems, the desire to dominate, and power games. Saddie Choua connects her Belgian grandfather with The Bluest Eye, a novel by Toni Morrison. The video reflects her political criticism of inequality. That inequality is rooted in our culture and our economics, whether it is about the situation in a Citroën factory or in the arts. We are governed by people who do not love us. Audre Lorde has said that anger is a force and from it can be drawn knowledge. It is not this anger that disrupts collaboration between ethnicities, between genders, between social classes but rather the refusal to listen to it. Saddie Choua translates this anger into a visual format.
Am I the only one who is like me? This is a question characteristic of Saddie Choua’s life and work. It problematizes the position of the solitary I that is also never disconnected from the other. The power order that conditions the solitary “I”, is another central subject. Where does this otherness sit in the hierarchy of power? Where is her oppression and exploitation concealed or exoticed? Saddie Choua asks us to think about how we consume images and dialogues about the other and how they affect our self-image and historical consciousness. How can we intervene in the images that write our history and conceal social struggle? She uses meta-documentary tactics, collage, own (material, re-appropriation of popular intercultural formats and autiobiographical elements to put racism, discrimination against women and class and her cats in the spotlight. It is her way of undermining the (visual) language of our media and sharpening the critical and political gaze of her audience. Saddie Choua's work questions the relationship between maker and image. “How to speak and depict differently from a subalternal position, or is it just the concept of ‘the other’ that confines me in dominant images and narratives?” Saddie Choua lives and works in Brussels, Ostend and Lychnaftia. She is a doctoral researcher at RITCS Brussels and a lecturer at Sint Lucas Antwerp and RITCS. She is part of the artist collective ROBIN. She is one of the laureates of the Belgian Art Prize 2020 that was cancelled by the organization because the artists asked to go in dialogue concerning the ethics of the prize.
Jasmina Cibic
Beacons
Doc. expérimental | dcp | couleur | 23:0 | Slovénie, Royaume-Uni | 2023
Beacons is a cinematographic journey portraying eight women who distil the archive of cultural workers from countries of the Non-Aligned Movement into a musical score. They translate and decipher words into sounds and choreography and meet within a proposition for an address recasting the unrealised promises of the past into a sonic address a rehearsal for our present. Filmed on isolated architectures steeped in nature that once served the awakening of transnational solidarity, the project aims to re-inscribe the missing female voice into the history of world-building.
Cibic represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. She was the winner of the Film London Jarman Award (2021), the B3 Biennial of the Moving Image Award (2020) and has screened her films at the Whitechapel Gallery, London Film Festival, HKW Berlin, the Louvre, Dokfest Kassel and the Copenhagen International Documentary Festival among others. Cibic’s recent exhibitions include solo shows at the Museum of Contemporary Art Zagreb, The High Line New York, Museum der Moderne Salzburg, macLyon, Museum Sztuki Lódz, CCA Glasgow, Phi Foundation Montreal and BALTIC Centre for Contemporary Art Gateshead. Cibic’s work recently been presented at group exhibitions including IMMA Dublin, Biennale Jogja, Innsbruck Biennial, MAXXI Rome, Mac Belfast, MOMA New York, the Chicago Architectural Biennial and the Museum of Contemporary Art Belgrade.
Louis Braddock Clarke
Under Boom
Installation vidéo | 4k | couleur | 18:0 | Royaume-Uni, Pays-Bas | 2024
UNDER BOOM (2024) is a hallucinatory cinematic experience shaped through a combination of human-shaped sonic ecologies and deep time. Framed as a listening station and a geological hotspot to imagine society’s shifting sonic world, the work takes the audience through an anthropogenic cinema experience with infrasound, an inaudible bandwidth of 0–20 Hz filled with shockwaves caused by human activities. These include mining blasts, burning space debris, air strikes, atomic bangs, sonic booms, seismic guns, and the calving of ice sheets. The work stems from the discovery of a listening island in the mid-Atlantic, which due to its geo-positioning and low noise ratio is hyper-sensitive to long-wave sounds. From this island, the sonic ruptures of the Earth’s ever-changing global acoustics can be heard. UNDER BOOM is captured using stroboscopic techniques, where anthropogenic beats orchestrate the presence of visuals. Infrasonic events become markers of visibility, entangling frequency with video frame-rates in an act to dissolve ocularcentrism. The frictions of vibrating matter, shaking sonics, and flickering images highlight the physical renderings of human sounds on the Earth. Linking the intimacy and intensity of flicker cinema with an embodiment of climate allows for alternative modes of listening and climatic imaginary experiences. What if the Earth was dancing faster and faster every year?
Louis Braddock Clarke is an artist and researcher interpreting notions from domains of art, geography, physics, and esoteric philosophy. Listening and amplification as creative methods have become key approaches to their work relating to disrupted ecologies. Through fieldwork, filmmaking, sonic tuning, and amateur geology their projects seek to speculate on the future surfaces of the Earth. Braddock Clarke’s relationship with the geographical arts is embedded in their formative years in Cornwall, surrounded by radon moorlands, granite quoits, shifting isolines, pixies, tin mines, and trans-Atlantic cable systems. These entangled Earth energies have become paramount to their ongoing research methods relating to technologies and terrains.
Esperanza Collado
Trágame nube (el cuerpo establece el ritmo)
Film expérimental | 16mm | couleur et n&b | 13:0 | Espagne | 2023
Trágame nube is conceived as an art installation in which two twin films are projected on the two sides of a screen, inviting the viewer into a circular experience of the space of projection. The single point of view has been deconstructed, implicating the body into a complex, dialectical cinematic space. The film is inspired in José Val del Omar’s ideas on cinema and perception. Val del Omar is probably the most important Spanish experimental filmmakers of the 20th century. Shot with Bruno Delgado Ramo, the two films have an exact complementary structure divided into three parts. The first one is a play tag with Delgado Ramo at the Alhambra palace in Granada, where Val del Omar shot some of his first emblematic films. The second and central part is devoted to activating in playful ways Val del Omar’s original documents, held at the library of Reina Sofia Museum. The film apparatus is presented on the third part as sculpture and performance in a loose association with Val del Omar's studio PLAT (Picture-Luminous-Audio-Tactile).
Esperanza Collado creates performances and installations that weave together film ideas and sculptural elements, activity she combines with creative writing and lecturing. Her work often explores intersections between art and theory. She has published “Things Said Once” (CA2M, 2024), “Paracinema. La desmaterialización del cine en las prácticas artísticas” (Trama editorial, 2012) and “Cerca de aquí” (Centro Guerrero, 2019). She has carried out postdoctoral scholarships at Anthology Film Archives (2009-2010) and Taiwan Fellowship (2020) with research projects around expanded cinema. She co-founded the record label LEVE (León) and the Experimental Film Club (Dublin). She has presented work in art centers, museums and film contexts around the world such as Museum of the Moving Image, Microscope Gallery, CCCB, Matadero Madrid, Image Forum, Taiwan Film Institute, Luis Adelantado, The Film-Makers Coop, Hangar, MNCARS, Tate Modern, Anthology Film Archives, MUSAC, Art Cinema OFFoff, Havana Biennial, Scratch Expanded, Images Festival, EMAF, Close Up Cinema, etc. She lectures at the Faculty of Fine Arts in Cuenca (UCLM) and MasterLAV (Madrid).
Max Colson
A Time of Crisis
Doc. expérimental | digital | couleur | 18:17 | Royaume-Uni | 2024
Using ‘world building’ game design software, an island landscape is constructed from images, videos, 3D assets, and social media comments found online about Second World War Britain. A series of theatrical scenes are created from this material that dramatise this period's significance for Britain today, including the mythic importance of the so-called ‘Blitz Spirit’ - an idea recalled during times of recent crisis. As the island is built, viewers hear the voices of present day Britons, many of whom did not participate in the war, who have posted to social media about their reflections on that period of history. The film uses experimental documentary methods to consider what today’s fantasies of Britain’s wartime past say about the UK in the present moment. The film questions how wartime myths relate to, and sometimes ignore, new contemporary realities: pandemics, a globalised economy, the impact of digital technology on labour and social relations, and rising levels of poverty and inequality. The film draws on archive material from the Imperial War Museum, the National Archives, British newspaper websites, and 3D asset libraries.
Max Colson documents aspects of architecture and landscape that illustrate Britain or notions of Britishness. He does this using photography, 3D imaging technologies, and film. His films have been selected to screen in a variety of film festivals such as DOK Leipzig (DE, 2019 and 2018), Sheffield Doc Fest (UK, 2018), Aesthetica Short Film Festival (UK, 2017), Hamburg International Short Film Festival (DE, 2018) and Kassel Dokfest (DE, 2017). In 2023 he was recognized as an artist film maker ‘Lodestar’ by Film London and was supported by their Fellowship programme for emerging artist film-makers. His previous film Construction Lines was the winner of the Short Fiction category at the Architecture Film Festival London and was also a winner of the UK’s Tenderflix Artist Video Prize (both 2017). His work has also been screened within contemporary art and photography galleries such as The Photographer’s Gallery (UK), Fotomuseum Winterthur (CH), C/O Berlin (DE), and Werkletiz Centre for Media Art (DE). He is a graduate of the London College of Communication’s MA Photojournalism and Documentary Photography.
Juliette Corne
La Starosta
Vidéo | 4k | couleur | 15:0 | France | 2024
Dans l'Est de l'Ukraine, la route M03 relie Kharkiv au Donbass, marquant l'ancienne ligne de front de 2022. Le long de cette route, une station-service carbonisée accueille la réunion des habitants du village de Kamynka, détruit à plus de 90 %. Les bancs sont les caisses de missiles de l’armée russe, laissées après leur retrait lors de la contre-offensive de septembre. Malgré une tentative de rester rationnels et méthodiques, les tensions entre les habitants deviennent palpables, transformant la recherche de réponses en un véritable combat. Cette vidéo explore les conséquences de la guerre sur la population de l’Est, à travers la destruction matérielle, psychologique et relationnelle.
Juliette Corne est titulaire d’un diplôme national supérieur d’arts plastiques des Beaux-Arts de Paris. Son travail navigue entre l’art contemporain et le cinéma, explorant les évènements socio-politiques contemporains et leurs conséquences sur les représentations et les intimités. Attachée à révéler les mécanismes qui engendrent une normalisation de la violence, elle capte, à travers ses films, ses installations et ses photographies, des moments de vie qui continue malgré l’horreur et la guerre. Comment envisager l’espoir, l’amour ou l’avenir dans des situations où l’exil, la solitude et la peur cristallisent toutes les énergies vitales ? En questionnant les biais des point de vue occidental hégémonique, en transmettant une parole et des silences recueillis avec pudeur et sensibilité, elle sonde ces endroits où des formes de liberté se réinventent à travers l’imaginaire et où la rencontre avec l’autre devient possible.
Emily Curtis
All that love allows
Doc. expérimental | mp4 | couleur et n&b | 14:0 | France | 2023
L’histoire fabuleuse mais vraie de Mary Read et Ann Bonny, pirates du XVIIIe siècle. Le jour où Ann a aperçu Marie pour la première fois, ses jambes n’ont pu que trembler.
Après des études de philosophie et d’histoire de l’art, Emily Curtis se tourne vers le cinéma et fait un Master avant d’intégrer la fémis dans le département Montage. Elle monte des films documentaires et de fiction, des histoires de corps, trouvant plaisir à expérimenter au sein de différentes formes d’écriture.
Takuya Dairiki, Takashi Miura
Dairiki and Miura 3
Doc. expérimental | digital | noir et blanc | 60:51 | Japon | 2023
Dairiki and Miura talk and play in their neighborhood.
Co-directors, Takuya Dairiki and Takashi Miura, were born in 1980 in Osaka, Japan. They have been friends since childhood and started making films together for fun, doing everything by themselves – directing, script writing, photography, soundmaking, acting, editing, and art work. "Dairiki and Miura 3" is the fourteenth film they have co-directed.
Adheep Das
Half-Portrait of Dadu
Film expérimental | mov | couleur | 5:15 | Inde | 2023
Like many people in their later years, my grandfather had a set of oft-repeated stories. Towards the last few months of his life, a brand new person,'Chetan' started populating his life. This poem-film is an attempt to understand the feeling.
Adheep Das likes mixing various mediums and finding out what comes of them. Fascinated by science and arts alike, his interests take him to places that merge the two. As part of a 3 person collective, he got the ThinkArts Grant for Children in 2022. 'Moonless', a film he directed and animated, has competed at DokLeipzig and Dharamshala Intl. Film Festival, amongst others. His documentary 'Khaalti Kaay Varti Kaay' competed at IDSSFK, Kerala. Some of his work has also been exhibited as part of the Kochi-Muziris Students' Biennale and the Wrong Biennale. He has worked on a live shadow puppetry production called ‘Zig Zags to Earth’, and has performed at venues such as Max Muller Bhawan, Delhi, and Kiran Nadar Museum of Arts, Delhi. He has also been part of the Serendipity Arts Foundation Residency 2024.
Karel De Cock
Benevolence
Film expérimental | mov | noir et blanc | 13:48 | Belgique | 2023
Benevolence is a film art installation in the form of a flicker film. The subject is the depiction of relationships between men and women in film. The work analyses and reveals the various forms of sexism, particularly benevolent sexism. The movement of the film unfolds like a love scene: starting with a seemingly innocent chase, it progresses into violence and ultimately culminates in an overwhelming display of love and submission. The film constructs a choreography using the mise-en-scène typical of classic Hollywood films from the 40s and 50s. Shots are divided into segments of 7 frames and interwoven with one another, creating a choreography of movement, a dance. By doing this, the film reveals the conventions in the ways men and women interact with each other in physical space. In doing so, the film not only questions the normative framework of that time but also challenges the cinematic conventions of today, as many of them are still in use.
Karel De Cock, born in 1982, works and lives in Brussels. He studied Audiovisual Arts at the Sint-Lukas Institute. In his film and photography work, he often reflects on the weight of social conformity. His practice is heavily grounded in research, drawing from popular culture, film, and media history. His photography takes a sociological approach, incorporating an observational element in an urban context. His central goal is to bring visibility to the unseen, emphasizing the extraordinary within the ordinary rather than seeking out exceptions. His work has been featured internationally in several exhibitions and museums, including, House Of World Cultures, Transmediale, Berlin; European Media Arts Festival, Osnabrueck; Centre Pompidou, Rencontres Internationales, France; Europalia Arts Festival, Belgium; Beirut Art Center, Lebanon; Museum M, Belgium and Courtisane, Belgium.
Eléonore De Montesquiou
Phoenix Katja
Doc. expérimental | mov | couleur et n&b | 12:0 | Estonie | 2024
"Je suis un phénix. Il m’est difficile de décoller et de chuter", écrit Katja. Educatrice de jardin d’enfants à Narva, une ville frontalière entre l'Estonie et la Russie, Katja est née en 1992, avec la nouvelle République d'Estonie, dans une famille et un environnement russophones. Katja considère que sa génération a été une expérience pour la nouvelle république. Aujourd'hui, elle est prise au piège entre des langues qui reflètent des positions opposées sur la guerre, la paix et la liberté.
Française-Estonienne, née en 1970, à Paris. Eléonore de Montesquiou travaille sur l’articulation des histoires individuelles et officielles. Elle creuse les ambiguités de la vie sur les limites, basée sur sa propre expérience du déracinement. Depuis 2007, elle filme des femmes vivant à Narva, ville frontalière entre l'Estonie et la Russie : « Na Grane », en 2016, elle commence à travailler avec des demandeurs d'asile originaires de pays francophones en Estonie : « Hope is no home » tout en poursuivant un projet de film de longue date en France avec des paysans des Hautes-Alpes : « Traverses ».
Bea De Visser
No horses on Mars
Documentaire | digital | couleur | 14:54 | Pays-Bas | 2024
Look into the eyes of a horse and know that you are looking at an intelligent and sensitive animal. If a horse is an animal, what are we? We experience a trailer ride on the highway and wake up from anesthesia in a veterinary clinic. ‘No horse on Mars’ is a film, documentary in its research that plays with fictional elements. The horse’s POV is the most effective element of the film. The voice over tells the story of the galloping mind that resides in all domesticated horses and questions the horse-human positioning. The human is introduced as a screen viewer who follows the horse, wants to measure her, record her and knows her as an object. Ultimately, from the human perspective, there seems to be a glimmer of recognition in the film for the individuality of the horse.
Bea de Visser is known for her film art, installation work and sound performances. Her work can best be described as a digital media-based practice -from the perspective of a painter and storyteller who sees the world through different lenses. AnimaIs are a recurring motif in her work. Her latest works focus on non-anthropocentric storytelling. She mixes fiction with the everyday and emphasizes structures of power, dominance and control. Her work seduces the viewer through a rich audiovisual language, which is poetic in nature and told in an alternative narrative form. Bea de Visser attended the Rijksakademie van Beeldende Kunsten in Amsterdam (1993-1995). Prior to she pursues her studies painting with a study electro acoustic sound. She initially began her career as a sound and performance artist in the trendy club scene and artist’s spaces, early 1980-ies. With her installation work, she was asked for international exhibitions in museums, art spaces, and galleries, including MoMA New York, National Museum Prague, Madrid, Pittsburgh, and the Stedelijk Museum Amsterdam. Her films are screened at international film festivals, museums and gallery’s worldwide. Bea de Visser leads to date the independent studio Anotherfilm that nowadays works as a platform for scenario and film development. Bea de Visser is a lecturer and researcher at the University of the Arts Utrecht at the departments Audio Visual Media and Writing for Performance. She is a buddy for Master students of the department MA Scenography. She works as an art consultant for the corporate art collection of the Bravis hospital, NL.
Luciana Decker Orozco
Lo que los humanos ven como sangre, los jaguares ven como chicha
Doc. expérimental | 16mm | couleur | 29:54 | Bolivie | 2023
Water like crystals, spirited ruminants and haunted lakes. A meal is prepared, animals graze, wind moves through potato flowers. Land, lore and history conflate, confuse and constellate. Meanwhile: musicians are in the street, ancient objects are unearthed and small plans are made.
Bolivian filmmaker living in La Paz. MFA graduated in Cinematic Arts program at the University of Wisconsin in Milwaukee. Working in 16mm format, I’m exploring the spectral presence of places, objects, and matter, intertwining them with microhistories revealed through intimate interactions and relationships with the people who participate in my films.
Daniela Delerci
Before Night Falls
Documentaire | mov | couleur | 20:42 | Italie, Egypte | 2023
This project ventures into the intricate landscape of masculinity, embarking on an in-depth investigation that challenges and deconstructs conventional definitions framed by societal and cultural norms. By examining masculinity through the lens of vulnerabilities, repression, and gender role construction, the initiative encourages a profound reevaluation of the male identity, advocating for a reconnection to the more primal, emotional, and sensitive sides of men's nature.
Daniela is an internationally renowned choreographer and movement director known for her boundary-pushing approach to dance. Driven by a profound curiosity about movement’s power, her work interweaves memory and the body’s capacity for storytelling. She debuted at the 2017 Biennale Danza with We Are Raw Material, setting the stage for a journey of artistic exploration across continents. Her collaborations include projects with the Pinuccio Sciola Museum, Accademia Nazionale di Roma, ?finMalta, and Tanz Company Gervasi. In 2021, Daniela earned an MFA in Choreography from Trinity Laban, where her innovative vision continued to flourish. Her celebrated piece Before Night Falls recently premiered at Contemporary Cairo Night and is currently touring Italy. Her latest work, Truncare Su Cadenas, explores the profound links between Armenian and Sardinian dance traditions.
Shrutiman Deori, Dharmendra Prasad
Aadara
Film expérimental | 4k | couleur | 29:52 | Inde | 2024
When cracked seasons passes through the materials and life’s goal then how long a dream can sustain? How long urgencies can take to transfer into pleasing weathers of now? How long a season can sustain in the desertification of care? Aadara - a Bhojpuri sub season of 16 days at the time of monsoon is the beginning of the paddy plantation and rains in the Bhojpur region of India. The title is referred from the presence of season which symbolises life and dreams through cyclic toil. The work is an audio visual/seasonal conversation between the agrarian urgencies of Nadaon village in Bihar and the extracted forests and contaminated water bodies of Rani forest of Brahmaputra valley. The crucial goal of the work is to place the viewer into the friction between multi-layered fragments of times and ecologies by creating a space of contemplation.
Dharmendra Prasad- Rolling through orality, toil, winds, dimensions, horizon and deteriorating seasons and sites, Dharmendra Prasad harvests imagination, memories, times, change and toil, that are stored as residue in the backyard of life's goal. Through the medium of need, time, toil and soil Dharmendra's practice gets cultivated and tilledup in the form of installations, videos, paintings, photography, texts, events, and travelogue and beyond. Born in-between stories, discrimination, hierarchies, chaos and silence, full of winds and dusts, without any address, Dharmendra practices between the fields of Gangatic plains to the villages, water bodies and rainforests of northeast India, and in extension co-founding the Guwahati based Anga Art Collective. Shrutiman Deori is a filmmaker based out of Guwahati, North East India. He has worked on documentaries, narrative films as well as video art installations. While for the most part he works as a cinematographer, Shrutiman has also directed films that have received critical acclaim in film festivals around the world including International Documentary Film Festival Amsterdam(IDFA) and Camden international Film Festival. He is the recipient of IDFA Bertha Fund 2023 for his ongoing feature documentary "Shadows of the Forest". He works in the audio-visual medium wherein he explores the politics of indigeneity , community and environment. Shrutiman studied sound engineering from School of Audio engineering, Chennai and was also selected for the cinematography mentorship program by the Indian Society of Cinematographers(ISC).
Vincent Dieutre
This is the end
Documentaire | digital | couleur | 108:37 | France | 2022
Sur Facebook, je l’ai reconnu tout de suite. 40 ans après notre rencontre, nous ne savons même plus si c’est un bon souvenir. Malgré le virus, j’ai pu rejoindre Dean à Los Angeles. Ici tout est fermé, et de Malibu à Watts, nous nous laissons traverser par l’immensité de la ville, dans l’élan de la Mustang. Tiens-moi bien la main, mon aimé, la fin a déjà eu lieu, tout le monde le sait à Hollywood, mais désormais seuls la poésie peut le révéler.
Après des études d'Histoire de l'art, Vincent Dieutre entre à l'IDHEC (Fémis) en 1983. Lauréat en 1989 de la Villa Médicis hors les murs à New York, il séjourne ensuite à Rome et à Berlin. Après ces années de dérive, il rentre en 1990 à Paris et y écrit son mémoire de DEA (« Esthétique de la confusion » Paris III) avant de se tourner définitivement vers la réalisation avec Rome Désolée. Cinéaste, critique (la Lettre du cinéma, les Lettres Françaises), il enseigne aussi régulièrement dans les écoles de cinéma et d’art en France et en Europe (Paris VIII, la HEAD, Fresnoy, la Cambre, etc). À la fois documentaires et autofictions nourries de musique, de peinture, de culture Queer, son travail interroge les liens entre l’intime et le collectif mais aussi les formes du cinéma. Ses films ont reçu plusieurs prix dans les festivals internationaux.
Ben Donateo, Zylberberg Michel
Muzungu
Documentaire | 16mm | couleur | 50:0 | Suisse | 2024
In the kilimanjaro area the life of a boy, a young adult and an old blind man intersect amidst cultural and climate changes.
Ben Donateo is a filmmaker from Switzerland. In 2023 he took part in the Locarno Residency with The Slaughter, his first feature project. Meanwhile he co-directed the film Muzungu, which world premiered at the 55th Visions du Réel 2024.
Tommaso Donati
Poetenleben
Doc. expérimental | hdv | couleur | 63:0 | Suisse | 2023
Le film cherche à révéler l'humble personnalité de l'écrivain suisse Robert Walser (1878-1956), à travers une immersion dans les archives de ses «Microscripts». Ces minuscules écriteaux à la limite de l'indéchiffrable, petits feuillets rédigés au crayon dans une écriture microscopique, que l'écrivain lui-même appelait la «méthode du crayon», lui permettaient d'écrire plus librement et moins laborieusement. Une démarche qui semble refléter sa volonté de prendre discrètement ses distances avec le monde et la société.
Tommaso Donati est né en 1988 à Lugano, en Suisse. Il vit et travaille au Tessin, Suisse. Son travail combine une approche narrative avec le cinéma documentaire et s'articule autour du thème de la marginalité. Ses courts métrages ont été projetés dans plusieurs festivals nationaux et internationaux, dont le Locarno Film Festival. Son premier long métrage documentaire, Forma del primo movimento (2022), a été présenté pour la première fois au Solothurner Filmtage, en compétition dans la section Opera Prima. Son dernier film, Poetenleben, est produit par Noha film et coproduit par RSI. Il a participé à divers programmes de développement tels que Berlinale Talents et Locarno Residency.
Marco Douma, Roel Meelkop
The Clearing
Vidéo expérimentale | dcp | noir et blanc | 8:49 | Pays-Bas | 2024
The video work The Clearing reveals a fascination for exploring the indescribable and the ambiguous, a space in which certainty falls away and one can experience moments of thoughtlessness, perhaps even timelessness. This concept of an indefinable space is a recurring theme in Marco Douma and Roel Meelkop's audiovisual works.
Since the 1990s, both makers have been active in art in their own fields. Roel Meelkop developed from visual art to sound artist and Marco Douma developed from painting to multimedia artist. They made the acquired expertises their own and are in that sense self-taught in their current fields. At the same time, their visual academic background still plays a major role in the creation process. Perhaps this common denominator, which they recognise in each other's work, makes their collaboration so natural and complete. The collaboration began in 2011 and since then they have created video installations, performances and video works.
Sam Drake
Terminal Island
Doc. expérimental | 16mm | couleur | 12:51 | USA | 2024
Tracing a space between real and phantasmatic ecological dread, Terminal Island presents a multi-sensory portrait of a landscape in peril, an ambivalent lament for LA’s vanishing palms and a sermon on Doomsday infrastructure delivered to no one.
Sam Drake (USA) is a filmmaker based in Milwaukee, WI. Working with 16mm film and found media, her work embraces collage as a framework for interrogating contemporary life and landscapes. She received a BFA in Film from Wright State University, and an MFA from the University of Wisconsin-Milwaukee in Cinema Arts. Her work has been exhibited at film festivals and venues including International Film Festival Rotterdam, Doc Fortnight (MoMA), Media City Film Festival, ExiS, Edinburgh International Film Festival, Curtas Vila do Conde, CROSSROADS, Non-Syntax Experimental Image, Alchemy Film & Moving Image Festival, Collectif Jeune Cinéma, Winnipeg Underground Film Festival, Transient Visions Festival of the Moving Image, and Antimatter. She is currently a lecturer in Film, Video, Animation and New Genres at the University of Wisconsin-Milwaukee.