BERTA SICHEL - DOCUMENT(ALL): A NONCONFORMIST WAY TO TELL STORIES
SCREENING
Document(all) – A nonconformist way to tell stories #1
PETIT THEATRE MERCELIS
Sun, 17 Oct 2004
20:00 - 22:49
Introduced by Berta Sichel
Los Angeles Plays itself
Thom Andersen
2003
video | 02:49:00 | col. & b&w
spoken | english
Film connoisseur Thom Andersen shows the many realities and representations in countless films (including many unique shots) of his beloved Los Angeles. In an urban symphony, Los Angeles plays itself in this film by Thom Andersen in a puzzle of more and less familiar scenes, fragments and individual shots. Andersen uses the city as a background, as a character and as a subject. For instance we see how buildings and locations are used and distorted, the way in Los Angeles can be a co-conspirator (for instance in Billy Wilder’s Double Indemnity) or how the city, as in Roman Polanski’s Chinatown, can be a subject in itself. Andersen shows that the city hardly ever plays itself in major Hollywood productions, but is cast in specific roles. In combination with the dry, amusing and even cynical voice-over by the New York film maker Encke King, this three-hour long essay is surprisingly entertaining.
Thom Andersen
Chicago, 1943. Lives in California.
Document(all) – A nonconformist way to tell stories #2
PETIT THEATRE MERCELIS
Mon, 18 Oct 2004
20:00 - 21:00
Le mariage d’Alex
Jean-Marie Teno
2002
35 mm. | 00:45:00 | col.
spoken | french
Chronicle of a special afternoon during which three people undergo a dramatic change in their lives. Alex, the man, sets out to pick up his second wife and take her home with him. Elise, the love of his youth and his first wife, escorts him in accordance with tradition, and Joséphine, his new wife, says goodbye to her parents to join her new family.From the preparations before the dinner and the church celebration to the advice of the father and the first wedding night, Alex’ wedding shows a revealing impression of the sad reality behind the polygamy.‘In order to respect everybody’s choices and avoid accusatory looks I took up the role of a witness in order to film this ceremony and record the reality, the explicit and hidden meanings behind it in the best possible way. It is a ceremony which should be a celebration of love and the beginning of what should hopefully be a happy life, but time and again tolerance, submission and respect come into the picture.’ Jean-Marie Teno
Jean-Marie Teno
Famleng, Cameroun, 1954. Vit en Issy les Moulineaux, France.
Fusion Cuisine
Fatimah Tuggar
2000
video | 00:30:00 | col.
non spoken
Tuggar is know for digitally manipulated photographic montages that emphasize the incongruous effects of Western products on the social life of African village culture. His new video collage, Fusion Cuisine, is made with images of African woman engaged in domestic work, that are overlaid with digitally “imported” images of Western tools and utensils –toasters next to women sifting grain, lawnmowers by grass dwellings. The film isn´t being critical of how technology was taking over Africa and not allowing the country to remain pure. Indeed, as Tuggar answered in a interview : “(…) what it’s to do with is just examining, and looking at different ideas and how technology has affected the present situation and circumstances. It has nothing specific to do with wanting to keep technology out and keep this place pure.” Photo courtesy Colección Helga de Alvear, Madrid
Fatimah Tuggar
Kaduna, Nigeria, 1967. Lives and works in Indianapolis and New York.
Document(all) – A nonconformist way to tell stories #3
PETIT THEATRE MERCELIS
Mon, 18 Oct 2004
22:00 - 23:04
Meditations on Revolution, Part V: Foreign City.
Robert Fenz
2003
16 mm. | 00:32:00 | b&w
spoken | english
Since 1996, Fenz has been working on a series of short films titled “Meditations on Revolution. Foreign City part V is the final film. The film is dedicated to the director’s father who immigrated to the United States in 1953 and passed away in 1999. Foreign City studies New York as a place of immigration and displacement. It is a meditation on revolution of the urban space. Its abstract black and white images and actual sounds come in and out of synch, creating a magical foreign landscape. The reconstruction of New York through an imaginary city plan, built on sensation. The film has a timeless, anonymous quality until it is given the voice of artist and jazz musician Marion Brown.
Robert Fenz
Ann Arbor, Michigan, 1969. Lives and works in Boston.
White Balance (to think is to forget differences)
François Bucher
2002
video | 00:32:00 | col.
spoken | english
White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks. The video presents a question that needs to be visited over and over, a question that is always and necessarily larger than ourselves. Yvonne Rainer asked this question in her film Privilege: "...is ’permanent recovering racists’ the most we can ever be?" In this sense, offering a meta narrative that would pretend to describe the issues at stake, is a failure to understand the layers of unspeakability that are hidden in the question of whiteness. The piece opts for a poetic language, an address that seeks to arouse thought by concentrating on the openings of the audiovisual experience, in the short-lived moment of the in-between.
François Bucher
Cali, Colombia 1972. Lives and works in New York
Document(all) – A nonconformist way to tell stories #4
PETIT THEATRE MERCELIS
Tue, 19 Oct 2004
20:00 - 21:25
Control Room
Jehane Noujaim
2003
video | 01:23:00 | col.
spoken | english, arabic | subtitels: english
Control Room, by Jehane Noujaim (Startup.com), an award-winning Arab-American filmmaker who has lived within and embraced both worlds, provides an opportunity to re-examine what is perhaps the most pressing question of international relations today: “Is America radicalizing or stabilizing the Arab world?” The documentary gives a balanced view of Al Jazeeras presentation of the second Iraq war to their worldwide Arab audience, and in so doing calls into question many of the prevailing images and positions offered up by the U.S. news media. Control Room is a seminal documentary that explores how Truth is gathered, presented and ultimately created by those how deliver it.
Document(all) – A nonconformist way to tell stories #5
PETIT THEATRE MERCELIS
Wed, 20 Oct 2004
20:00 - 21:38
Karima
Clarisse Hahn
2002
video | 01:38:00 | col.
spoken | french
Karima is a young woman from Algeria who works at night as a ‘dominatrix’. Clarisse Haahn filmed Karima for over a one-year period in her family circle, in the company of her friends and during her work as a mistress. The director shows the games Karima stages in detail, her masochism also has a motherly, nurturing side. The body is showed alternately as a source for pleasure and pain, as a vehicle for emotions or as an impenetrable façade. Karima is not pornographic, but human. The young director and the young lead character refute the stories about – suppressed and/or obedient – women from North-Africa and show their subconscious desire to break through the prohibited and enter into a confrontation with the classical thought patterns and art forms, in order to develop alternative life forms and ways of representation.
Clarisse Hahn
Paris, 1973. Vit à Paris.
Document(all) – A nonconformist way to tell stories #6
PETIT THEATRE MERCELIS
Thu, 21 Oct 2004
20:00 - 21:25
Shoes for Europe
Pavel Braila
2001-2002
video | 00:40:00 | col.
non spoken
In the tiny railway station of Ungheni, along the border between Moldavia and Rumania, the track width of the Russian train from Moldavia needs to be converted to the standard width used in Rumania and Western Europe. The artist filmed this in secret – it is officially forbidden to film in Moldavia – the laborious transition of the train between the East and the West, as well as the enormous amount of manpower needed for the adaptation – each of the trains is detained for three hours and lifted 2 meters into the air for the undercarriage to be replaced, meanwhile the passengers are checked in customs. Shoes for Europe is a demonstration of the differences in cultural and economic identity between the East and the West and the image existing in the East about the capitalist West.
Pavel Braila
Chisnau, Moldavie. Vit à Maastricht, Bruxelles et Chisnau.
Dammi i colori
Anri Sala
2003
00:15:24 | col.
spoken | albanian | subtitels: french
Anri Sala makes documentaries giving evidence of great objectivity. Almost all of his films were recorded in Albania, and he is part of a generation of artists who are involved both personally and because of their work in the political and social situation of the country. Dammi i colori shows the transformation of the sad façades of Tirana, as a metaphor for the recent modernist reforms in Albania. The film offers a political-social perspective on the rebirth of a city, an aesthetical investigation focused on the contrast between bright monochrome colours and the weak streetlights, or, as Sala puts it, a sociological perspective: ‘I suspect thousands of stories take place in our immediate surroundings on a daily basis (…) It is important to be aware of what happens around us and not fall back into everyday automatic activities’.
Anri Sala
Tirana, Albanie, 1974. Vit à Paris.
No Show
Melvin Moti
2004
video | 00:24:00 | col.
spoken | russian | subtitels: english
In 1941 the Hermitage collection was taken away. The frames were left hanging on the walls, the rest of the museum was empty. In 1943, Pavel Gubchevsky guided a group of soldiers through the empty museum, along the empty frames. This film is based on that excursion.
Melvin Moti
Rotterdam, 1977. Lives and works in Rotterdam.
Document(all) – A nonconformist way to tell stories #7
PETIT THEATRE MERCELIS
Fri, 22 Oct 2004
20:00 - 21:16
Writing Desire
Ursula Biemann
2000
video | 00:23:00 | col.
spoken | english
Ursula Biemann’s Writing Desire is a video essay on the new dream screen of the Internet and how it impacts on the global circulation of women’s bodies from the third world to the first world. Biemann provides her viewers with a thoughtful meditation on the obvious political, economic and gender inequalities of these exchanges by simulating the gaze of the Internet shopper looking for the imagined docile, traditional, pre-feminist, but Web-savvy mate. Writing Desire delights in implicating the viewer in the new voyeurism and sexual consumerism of the Web. However, it never fails to challenge pat assumptions about the impossibility for resistance and the absolute victimization of women who dare to venture out of the third world and onto the Internet to look for that very obscure object of desire promised by the men of the West
Ursula Biemann
1955, Zurich, Switzerland. Lives in Zurich
Survived ’n’ Lived Through One More Day
Alma Becirovic
video | 00:12:00 | col.
spoken | subtitels: english
The largest part of Bosnia and Herzegovina is covered with the minefields and the procedure of mine cleaning is very complex and lengthy. The documentary is a story about Suada Bajramovic (55), a woman from small place in East Bosnia- Gorazde, self-supporting mother. Her son Alen, wounded during the wartime, is unable to perform ordinary/ heavy work. That’s why Suada decided to work as sapper. As she said as well in the film, she loves her job because she saves the lives with every single mine that is been destroyed, even though her life is in danger every single working day. Through a story about an extraordinary woman who is doing traditionally a man’s job, the film is telling a story about life of simple people, the things that fulfil their lives, their wishes and their fate…
Alma Becirovic
Sarajevo, Bosnia and Herzegovina, 1975. Lives in Sarajevo.
November
Hito Steyerl
2004
00:26:00 | col.
spoken | german | subtitels: english
November is based on the life of Steyerl’s close friend, Andrea Wolf, who, prior to her assassination as a suspected Kurdish terrorist in Eastern Anatolia in 1998, was suspected of having participated in terrorist activities and of being a member of the Red Army faction in Germany. Using Wolf’s biography as a structuring element, this project tackles the question of what is nowadays called terrorism and used to be called internationalism once. It deals with the gestures and postures it can create, and their relationship to figures of popular culture, namely cinema. In this way, November is not a documentary about Andrea Wolf, nor is it about Kurdistan; it’s an elegy to a distant friend, an essay on the construction of mythic identities, and a commentary on the defunct ideologies.
Hito Steyerl
Munich, 1966. Lives in Berlin.
Black September
Christoph Draeger
2002
video | 00:14:30 | col.
non spoken
The artist remembers 30 years after the 1972 abduction and murder of eleven members of the Israeli Olympic team by Palestinian terrorists during the XXth Olympiad in Munich. And the world will also remember the September 11th terrorist actions in New York. Draeger’s work presents a partial fictional presentation of the sequence of events as they occurred in the besieged room. The unfolding of these events in Munich, a nearly forgotten early climax in global terrorism, was an absurd spectacle encased within the theatrical set of the Olympic Games. Draeger’s video includes reworked excerpts from the contemporary TV coverage, visible from within a reconstruction of the room itself. Fact and fiction are mingled and so are past and present, as the line between live and documentary, between observer and participant, are blurred.
Christoph Draeger
Zurich, Switzerland, 1965. Lives in New York
Document(all) – nonconformist ways of story telling #8
PETIT THEATRE MERCELIS
Sat, 23 Oct 2004
20:00 - 21:00
Azé
Ange Leccia
2003
35 mm. | 01:00:00 | col.
spoken | french
A character who escaped the West, discovers the Oriental civilisation. His subjective wanderings constitute a story keeping the middle between an adventure film and a love story. The senses act as a guide in the story, consisting of a series of visual and sound impressions visualising the encounter between the various cultures. In this changeability the fascination becomes apparent for the spatial surroundings and the possible conveyance of signs at the impetus of the emotions.
Ange Leccia
Minerviù, Corse, 1952. Vit à Paris
PETIT THEATRE MERCELIS
Sun, 17 Oct 2004
20:00 - 22:49
Introduced by Berta Sichel
Los Angeles Plays itself
Thom Andersen
2003
video | 02:49:00 | col. & b&w
spoken | english
Film connoisseur Thom Andersen shows the many realities and representations in countless films (including many unique shots) of his beloved Los Angeles. In an urban symphony, Los Angeles plays itself in this film by Thom Andersen in a puzzle of more and less familiar scenes, fragments and individual shots. Andersen uses the city as a background, as a character and as a subject. For instance we see how buildings and locations are used and distorted, the way in Los Angeles can be a co-conspirator (for instance in Billy Wilder’s Double Indemnity) or how the city, as in Roman Polanski’s Chinatown, can be a subject in itself. Andersen shows that the city hardly ever plays itself in major Hollywood productions, but is cast in specific roles. In combination with the dry, amusing and even cynical voice-over by the New York film maker Encke King, this three-hour long essay is surprisingly entertaining.
Thom Andersen
Chicago, 1943. Lives in California.
Document(all) – A nonconformist way to tell stories #2
PETIT THEATRE MERCELIS
Mon, 18 Oct 2004
20:00 - 21:00
Le mariage d’Alex
Jean-Marie Teno
2002
35 mm. | 00:45:00 | col.
spoken | french
Chronicle of a special afternoon during which three people undergo a dramatic change in their lives. Alex, the man, sets out to pick up his second wife and take her home with him. Elise, the love of his youth and his first wife, escorts him in accordance with tradition, and Joséphine, his new wife, says goodbye to her parents to join her new family.From the preparations before the dinner and the church celebration to the advice of the father and the first wedding night, Alex’ wedding shows a revealing impression of the sad reality behind the polygamy.‘In order to respect everybody’s choices and avoid accusatory looks I took up the role of a witness in order to film this ceremony and record the reality, the explicit and hidden meanings behind it in the best possible way. It is a ceremony which should be a celebration of love and the beginning of what should hopefully be a happy life, but time and again tolerance, submission and respect come into the picture.’ Jean-Marie Teno
Jean-Marie Teno
Famleng, Cameroun, 1954. Vit en Issy les Moulineaux, France.
Fusion Cuisine
Fatimah Tuggar
2000
video | 00:30:00 | col.
non spoken
Tuggar is know for digitally manipulated photographic montages that emphasize the incongruous effects of Western products on the social life of African village culture. His new video collage, Fusion Cuisine, is made with images of African woman engaged in domestic work, that are overlaid with digitally “imported” images of Western tools and utensils –toasters next to women sifting grain, lawnmowers by grass dwellings. The film isn´t being critical of how technology was taking over Africa and not allowing the country to remain pure. Indeed, as Tuggar answered in a interview : “(…) what it’s to do with is just examining, and looking at different ideas and how technology has affected the present situation and circumstances. It has nothing specific to do with wanting to keep technology out and keep this place pure.” Photo courtesy Colección Helga de Alvear, Madrid
Fatimah Tuggar
Kaduna, Nigeria, 1967. Lives and works in Indianapolis and New York.
Document(all) – A nonconformist way to tell stories #3
PETIT THEATRE MERCELIS
Mon, 18 Oct 2004
22:00 - 23:04
Meditations on Revolution, Part V: Foreign City.
Robert Fenz
2003
16 mm. | 00:32:00 | b&w
spoken | english
Since 1996, Fenz has been working on a series of short films titled “Meditations on Revolution. Foreign City part V is the final film. The film is dedicated to the director’s father who immigrated to the United States in 1953 and passed away in 1999. Foreign City studies New York as a place of immigration and displacement. It is a meditation on revolution of the urban space. Its abstract black and white images and actual sounds come in and out of synch, creating a magical foreign landscape. The reconstruction of New York through an imaginary city plan, built on sensation. The film has a timeless, anonymous quality until it is given the voice of artist and jazz musician Marion Brown.
Robert Fenz
Ann Arbor, Michigan, 1969. Lives and works in Boston.
White Balance (to think is to forget differences)
François Bucher
2002
video | 00:32:00 | col.
spoken | english
White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks. The video presents a question that needs to be visited over and over, a question that is always and necessarily larger than ourselves. Yvonne Rainer asked this question in her film Privilege: "...is ’permanent recovering racists’ the most we can ever be?" In this sense, offering a meta narrative that would pretend to describe the issues at stake, is a failure to understand the layers of unspeakability that are hidden in the question of whiteness. The piece opts for a poetic language, an address that seeks to arouse thought by concentrating on the openings of the audiovisual experience, in the short-lived moment of the in-between.
François Bucher
Cali, Colombia 1972. Lives and works in New York
Document(all) – A nonconformist way to tell stories #4
PETIT THEATRE MERCELIS
Tue, 19 Oct 2004
20:00 - 21:25
Control Room
Jehane Noujaim
2003
video | 01:23:00 | col.
spoken | english, arabic | subtitels: english
Control Room, by Jehane Noujaim (Startup.com), an award-winning Arab-American filmmaker who has lived within and embraced both worlds, provides an opportunity to re-examine what is perhaps the most pressing question of international relations today: “Is America radicalizing or stabilizing the Arab world?” The documentary gives a balanced view of Al Jazeeras presentation of the second Iraq war to their worldwide Arab audience, and in so doing calls into question many of the prevailing images and positions offered up by the U.S. news media. Control Room is a seminal documentary that explores how Truth is gathered, presented and ultimately created by those how deliver it.
Document(all) – A nonconformist way to tell stories #5
PETIT THEATRE MERCELIS
Wed, 20 Oct 2004
20:00 - 21:38
Karima
Clarisse Hahn
2002
video | 01:38:00 | col.
spoken | french
Karima is a young woman from Algeria who works at night as a ‘dominatrix’. Clarisse Haahn filmed Karima for over a one-year period in her family circle, in the company of her friends and during her work as a mistress. The director shows the games Karima stages in detail, her masochism also has a motherly, nurturing side. The body is showed alternately as a source for pleasure and pain, as a vehicle for emotions or as an impenetrable façade. Karima is not pornographic, but human. The young director and the young lead character refute the stories about – suppressed and/or obedient – women from North-Africa and show their subconscious desire to break through the prohibited and enter into a confrontation with the classical thought patterns and art forms, in order to develop alternative life forms and ways of representation.
Clarisse Hahn
Paris, 1973. Vit à Paris.
Document(all) – A nonconformist way to tell stories #6
PETIT THEATRE MERCELIS
Thu, 21 Oct 2004
20:00 - 21:25
Shoes for Europe
Pavel Braila
2001-2002
video | 00:40:00 | col.
non spoken
In the tiny railway station of Ungheni, along the border between Moldavia and Rumania, the track width of the Russian train from Moldavia needs to be converted to the standard width used in Rumania and Western Europe. The artist filmed this in secret – it is officially forbidden to film in Moldavia – the laborious transition of the train between the East and the West, as well as the enormous amount of manpower needed for the adaptation – each of the trains is detained for three hours and lifted 2 meters into the air for the undercarriage to be replaced, meanwhile the passengers are checked in customs. Shoes for Europe is a demonstration of the differences in cultural and economic identity between the East and the West and the image existing in the East about the capitalist West.
Pavel Braila
Chisnau, Moldavie. Vit à Maastricht, Bruxelles et Chisnau.
Dammi i colori
Anri Sala
2003
00:15:24 | col.
spoken | albanian | subtitels: french
Anri Sala makes documentaries giving evidence of great objectivity. Almost all of his films were recorded in Albania, and he is part of a generation of artists who are involved both personally and because of their work in the political and social situation of the country. Dammi i colori shows the transformation of the sad façades of Tirana, as a metaphor for the recent modernist reforms in Albania. The film offers a political-social perspective on the rebirth of a city, an aesthetical investigation focused on the contrast between bright monochrome colours and the weak streetlights, or, as Sala puts it, a sociological perspective: ‘I suspect thousands of stories take place in our immediate surroundings on a daily basis (…) It is important to be aware of what happens around us and not fall back into everyday automatic activities’.
Anri Sala
Tirana, Albanie, 1974. Vit à Paris.
No Show
Melvin Moti
2004
video | 00:24:00 | col.
spoken | russian | subtitels: english
In 1941 the Hermitage collection was taken away. The frames were left hanging on the walls, the rest of the museum was empty. In 1943, Pavel Gubchevsky guided a group of soldiers through the empty museum, along the empty frames. This film is based on that excursion.
Melvin Moti
Rotterdam, 1977. Lives and works in Rotterdam.
Document(all) – A nonconformist way to tell stories #7
PETIT THEATRE MERCELIS
Fri, 22 Oct 2004
20:00 - 21:16
Writing Desire
Ursula Biemann
2000
video | 00:23:00 | col.
spoken | english
Ursula Biemann’s Writing Desire is a video essay on the new dream screen of the Internet and how it impacts on the global circulation of women’s bodies from the third world to the first world. Biemann provides her viewers with a thoughtful meditation on the obvious political, economic and gender inequalities of these exchanges by simulating the gaze of the Internet shopper looking for the imagined docile, traditional, pre-feminist, but Web-savvy mate. Writing Desire delights in implicating the viewer in the new voyeurism and sexual consumerism of the Web. However, it never fails to challenge pat assumptions about the impossibility for resistance and the absolute victimization of women who dare to venture out of the third world and onto the Internet to look for that very obscure object of desire promised by the men of the West
Ursula Biemann
1955, Zurich, Switzerland. Lives in Zurich
Survived ’n’ Lived Through One More Day
Alma Becirovic
video | 00:12:00 | col.
spoken | subtitels: english
The largest part of Bosnia and Herzegovina is covered with the minefields and the procedure of mine cleaning is very complex and lengthy. The documentary is a story about Suada Bajramovic (55), a woman from small place in East Bosnia- Gorazde, self-supporting mother. Her son Alen, wounded during the wartime, is unable to perform ordinary/ heavy work. That’s why Suada decided to work as sapper. As she said as well in the film, she loves her job because she saves the lives with every single mine that is been destroyed, even though her life is in danger every single working day. Through a story about an extraordinary woman who is doing traditionally a man’s job, the film is telling a story about life of simple people, the things that fulfil their lives, their wishes and their fate…
Alma Becirovic
Sarajevo, Bosnia and Herzegovina, 1975. Lives in Sarajevo.
November
Hito Steyerl
2004
00:26:00 | col.
spoken | german | subtitels: english
November is based on the life of Steyerl’s close friend, Andrea Wolf, who, prior to her assassination as a suspected Kurdish terrorist in Eastern Anatolia in 1998, was suspected of having participated in terrorist activities and of being a member of the Red Army faction in Germany. Using Wolf’s biography as a structuring element, this project tackles the question of what is nowadays called terrorism and used to be called internationalism once. It deals with the gestures and postures it can create, and their relationship to figures of popular culture, namely cinema. In this way, November is not a documentary about Andrea Wolf, nor is it about Kurdistan; it’s an elegy to a distant friend, an essay on the construction of mythic identities, and a commentary on the defunct ideologies.
Hito Steyerl
Munich, 1966. Lives in Berlin.
Black September
Christoph Draeger
2002
video | 00:14:30 | col.
non spoken
The artist remembers 30 years after the 1972 abduction and murder of eleven members of the Israeli Olympic team by Palestinian terrorists during the XXth Olympiad in Munich. And the world will also remember the September 11th terrorist actions in New York. Draeger’s work presents a partial fictional presentation of the sequence of events as they occurred in the besieged room. The unfolding of these events in Munich, a nearly forgotten early climax in global terrorism, was an absurd spectacle encased within the theatrical set of the Olympic Games. Draeger’s video includes reworked excerpts from the contemporary TV coverage, visible from within a reconstruction of the room itself. Fact and fiction are mingled and so are past and present, as the line between live and documentary, between observer and participant, are blurred.
Christoph Draeger
Zurich, Switzerland, 1965. Lives in New York
Document(all) – nonconformist ways of story telling #8
PETIT THEATRE MERCELIS
Sat, 23 Oct 2004
20:00 - 21:00
Azé
Ange Leccia
2003
35 mm. | 01:00:00 | col.
spoken | french
A character who escaped the West, discovers the Oriental civilisation. His subjective wanderings constitute a story keeping the middle between an adventure film and a love story. The senses act as a guide in the story, consisting of a series of visual and sound impressions visualising the encounter between the various cultures. In this changeability the fascination becomes apparent for the spatial surroundings and the possible conveyance of signs at the impetus of the emotions.
Ange Leccia
Minerviù, Corse, 1952. Vit à Paris
Dit evenement is onderdeel van argosfestival 2004
-
zo 17.10.2004
- za 23.10.2004
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Praktische info
Location:
Petit Theatre Mercelis
Mercelisstraat 13
1050 Brussel
