Feministički činovi igre i imaginacije: Komuniciranje borbi tijela i uma u vremenima hiperdigitalizacije

Sretni smo i ponosni što vam predstavljamo našu selekciju feminističkih filmova iz programa Feministički činovi igre i imaginacije u online festivalskom izdanju. Program počinje danas, 8. decembra i biti će otvoren za publiku sve do 12. decembra.

Tematski fokus programa su filmski gestovi koji svojim glasovima slave prisustvo onoga što se nije moglo izbrisati ili namjerno nije zabilježeno. Reflektivni i senzorni prostori u kojima se slijede bol, borbe, ljubavi i sposobnosti bivanja zajedno koji nas uče kako da nadživimo patrijarhat.

Film Naše tiho mjesto redateljice Elitze Gueorguieve prati proces nastanka romana koji njen bjeloruski alter-ego, Aliona, započinje o svom ocu, pomorskom avanturisti, fizičaru i sanjaru, nestalom na turskoj obali 1995. godine. Uz proces gubitka i emancipacije kroz pisanje, autorica osmišljava vlastiti vizuelni jezik, pojačavajući napetost između sna i stvatnosti, poezije i sjećanja.

Our Quiet Place – Elitza Gueorguieva ; Fotografiju ustupio Pravo Ljudski Film Festival

Biljka (879 stranica, 33 dana) redateljice Ruth Höflich, Nevidljiva pobuna u režiji Pilar Monsell i Ahorita Frames Angelike Levi donose priče o izgubljenim prošlostima žena, pobuna i tortura. Höflich razvija priču iz 1980-ih, od transkripta suđenja vješticama, koji oblikuje kao razgovor između majke i kćeri, koji varira između historijskih činjenica preživjelog svjedočanstva do ličnih, predačkih veza sa događajem. Kolekcija analognih i digitalnih fotografija koje se prenose, razvijaju i prepliću kroz čitav film zamijenjuju protagoniste, u namjeri da prizovu prostor između neviđenih historija i međugeneracijskih transmisija. S druge strane, rediteljica Monsel prati jednu od historijski najpoznatijih pobuna, “Pobunu za hljeb”, koju je vodila žena iz Kordobe, u maju 1652. godine. Nema lica, niti imena. Nema niti jedne njihove slike. Ipak, pitanje ostaje, da li se geste otpora koje ne možemo vidjeti mogu rekonstruirati? Ahorita Frames redateljice Levi odvija se na graničnom prijelazu PedWest u Tijuani, gdje preostali migranti oživljavaju historiju Latinoamerikanke koje je čistila tzv. Ground Zero na kojem su se nalazili tornjevi Svjetskog trgovačkog centra, bez regulisanog boravka i bez odgovarajuće respiratorne zaštite.

Posljednja grupa filmova našeg programa dijeli opsesiju napetosti između zvučnog i vizualnog te političkih, etičkih i estetskih implikacija. Ovi filmovi razmišljaju o pozadini i prvom planu, te o tome kako je slušanje alat za kretanje u dubine gledanja. Prvi od ovih kreativnih dokumentaraca, Ruka koja pjeva od Alex Reynolds i Alme Söderberg prati glas koji kaže “ptica” i pojavljuje se ptica u oku, gdje je samo sekundu prije bila ruka, ili drvo, ili zviždaljka. Film Mogućnost za primjereni bijes redateljice Vike Kirchenbauer predstavlja pokušaj lične i autorefleksivne forme umjetničke kritike koja razmatra savremenu umjetnost, od njenog stvaranja do prezentacije, iz klasne perspektive. Pored pitanja koja nastaju kod dodira negativnog efekta i političkog agensa, rad problematizira pretpostavke gornje mobilnosti koje polje moderne umjetnosti jednako proizvodi i pretpostavlja. Putem esejističkog pristupa, ovaj video rad zrcali višesložna značenja daljine u njenom subjektivnom i društvenom smislu.  Posljednji film selekcije, Prvi rođendan nakon kraja svijeta redateljice  Farah Hasanbegović donosi smak svijeta u ukrštanju kuharske emisije i animiranih slika, gdje se dijete prisjeća svog prvog susreta s depresijom.

“Kako se stid može prenijeti?”; “Da li postoje takva mjesta?”; „Zar nisu svi takođe zabrinuti?“; “Optužili su je njeni rođaci, da li ste to znali? Bila je žena biljka, kako se zvala?”; “Zašto je ovo tako prokleto teško i traje tako prokleto dugo?; “Imate li malo vremena?”; “Koliko milja treba prijeći da bi došao do svog centra?”. Ovo su neka od pitanja koja nas mogu pronaći u ovih sedam filmova, a svako od nas može se sam zaputiti u potragu za odgovorima na njih u toku festivala. – poruka je programerke Adrianne Quene koja poziva gledatelje da se pridruže online izdanju.

Šesnaesto izdanje Pravo Ljudski Film Festivala velikodušno je podržano od strane Nacionalne fondacije za demokratiju (Vašington) i mnogih drugih partnera, dok je specijalni program Više od svega, željela sam još malo ostati – suvremeni brazilski film uz podršku Ambasade Brazila u Bosni i Hercegovini.

Za sve informacije o dostupnosti filmova, kao i svim ostalim festivalskim aktivnostima, pratite našu web stranicu pravoljudski.org, društvene mreže i hashtagove #plj16 i #pravoljudski16.


Feminist acts of play and imagination: Communicating struggles of body and mind in times of hyperdigitalisation

We are happy and proud to present to you our feminist online program selection entitled Feminist acts of play and imagination. The programme starts today, December 8th and will be open to the audience until December 12th.

The thematic focus of the program are film gestures that celebrate, in she/her voices, the presence of what could not be erased or was intentionally not registered. Reflective and sensorial spaces where we can remember the pain, the struggles, the love and the capacity to be together that will make us outlive patriarchy.

Film Our Quiet Place by Elitza Gueorguieva follows the making of the novel that directors Belarusian alter-ego Aliona begins about her father, a maritime adventurer, physicist and dreamer, who disappeared off the Turkish coast in 1995. In accompanying this process of loss and emancipation through writing, the filmmaker invents her own visual language amplifying the tension between dream and reality, poetry and memory.

Plant (879 pages, 33 days) by Ruth Höflich, A revolt without images by Pilar Monsell and Ahorita Frames by Angelika Levi bring stories of lost woman history, revolt and torture. Director Höflich unfolds a story of  1980s the transcript of a witch trial as a conversation between mother and daughter that switches between historical facts from the surviving testimony and personal, ancestral connections to the site. A collection of digital and analog photographs, handled, scrolled and spliced throughout the film replace the missing protagonists, determined to conjure the space between unseen histories and intergenerational transmissions. On the other side, director Monsell tells us about one of the most unknown uprisings of our history, “The bread mutinery”, that was led by women in Cordoba, May 1652. There are no faces, there are neither names. There is no image of them. Still gestures of resistance that we cannot see can be remade? Levi’s work takes place at the PedWest border crossing in Tijuana where stranded migrants re-stage the history of the Latin American women who cleaned the “Ground Zero” of the World Trade Center without residence permits and without proper respiratory protection.

Final group of our feminist films share an obsession for the tension between the aural and the visual and its political, ethical, and aesthetic implications. These films think about background and foreground, and about how listening is a tool to move into the depths of seeing. First of them, The Hand that Sings by Alex Reynolds & Alma Söderberg follows a voice that says ‘bird’ and a bird appears in the eye, when only a second ago it was a hand, or a tree, or a whistle. Next film, The Capacity for Adequate Anger by Vika Kirchenbauer constitutes an attempt at a personal and self-reflexive form of artistic critique that considers contemporary art, in its production as well as its presentation, from a perspective of class. Alongside questions around the intersections of negative affect and political agency, the work problematizes notions around upward mobility that the field of contemporary art both produces and presupposes. Deploying an essayistic approach, the video work reflects upon the manifold meanings of distance in both its subjective and social senses. Finally, First Birthday After the Apocalypse by Farah Hasanbegović brings the end of the world in a crossover between a cooking show and animated images, where a child recalls its first encounter with depression.

“How can shame be communicated?”; “Do places like that exist?”; “Isn’t everyone also worried?”; “She was accused by her own relatives, did you know that? She was a plant woman, what was her name again?”; “Why is this so damn hard and takes so damn long?; “Do you have a bit of time?”; “How many miles does one have to travel to reach one’s center?”. These are some of the questions that can find us in these seven films. The screenings are exciting to me, because together at the cinema and online, we can try some provisory answers. With this  message from programmer Adrianna Quena, we invite you to join the screening and conversations!

The 16th edition of the Pravo Ljudski Film Festival has been generously supported by the National Endowment for Democracy (Washington), and many other partners, while the Special Programme More than Anything Else I Wanted to Stay Awhile is made possible with the support of the Embassy of Brazil in Bosnia and Herzegovina.

For all information about the availability of films, and all other festival activities, please follow our website pravoljudski.org, social networks, and the hashtags #plj16 and #pravoljudski16.

[izvor informacije Pravo Ljudski Film Festival]