Arkipel 2016: 25 Films – International Competition

Anatomi genealogis kita yang baru yang sepenuhnya memberi kita identitas tertentu hari ini berasal dari bloking sosial kita yang terus-menerus sedang berubah. Pertarungan atas bloking inilah yang tanpa ampun kita desakkan agar survival di tengah bayang-bayang mega narasi komunal. Mitologi ini muncul sebagai serangkaian melankoli tentang segala hal yang diyakini ada atau pernah ada. Polis global yang kita huni sekarang merupakan ruang domestik baru juga bersama keterasingan jenis baru yang tak fisikal lagi. Di situ, kita mencari dan seperti menemukan kembali koloni-koloni bagi memori kolektif kita di tempat-tempat yang jauh dari asal narasi kita sendiri. Setiap adegan, setiap bidikan, setiap frame, dan seterusnya, kian terasa menjadi kode kekuatan ortodoksi yang semakin menegang dalam mengartikulasikan artefak-artefak hari ini ke transformasinya menjadi susunan di balik beragam ritus kita yang tiada henti dalam mengonsumsi pesan-pesan. Lanskap-lanskap yang muncul dari budaya ini mengubah drastis pembayangan kita akan identitas baru kita yang tak lagi tampak vertikal tetapi memuai, melebar, melesap ke dalam tumpang-tindih pengalaman-pengalaman survival. Sinema menjadi peluang tak terelakkan untuk parafrasa memasuki semua itu kendati sekadar beberapa kerjapan, seperti mata yang mengenangkan gambar-gambar yang dibingkai dalam negosiasi yang penuh kekerasan, bisa menarik kembali setiap gesture dari memori-memori yang acap luput oleh kelengahan sosial kita sendiri…

Our newly genealogical anatomy today gives us certain identity fully, stems from our social blocking which constantly changing. The struggle over this blocking pushes us to survive rabidly amid the shadows of mega communal narrative. This mythology appears as a series of melancholy about what is believed to exist or never existed. The global polis in which we live today is also a new domestic space along with new kind of alienation, which is not physical anymore. In it, we are searching and finding colonies for our collective memory in places far away from the origin of our own narrative. Every scene, every shot, every frame, and so on, more and more felt into becoming the power code of orthodoxy increasingly strained in articulating artifacts today to its transformation into arrangement behind our relentless various rites in consuming messages. Landscapes that emerged from this culture are drastically changing our imagery of our new identity that is no longer visible as vertical but expands, extends, vanishes into overlapping survival experiences. Cinema becomes inevitable opportunity to paraphrase, to enter all of these things, despite only some flickers, like eyes recalling the images framed in violent negotiation – can revoke any gesture of memories that sometimes missed by our own social inadvertence …

An Inaccurate Distance (Giovanni Giaretta, Italy, 2015, 16mins)

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Saida Despite Ashes (Soumaya Bouallegui, Tunisia, 2016, 52mins)

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La Braise les Cendres / The Ember The Ashes (Nicolas Azalbert, France, 2015, 63mins)

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Champ des Possibles (Cristina Picchi, Canada/Sweden/Italy, 2015, 14mins)

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Kodachrome (Collectif K-14, Belgium, 2013, 63mins)

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Sand (Brice Bowman, USA, 2015, 9mins)

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Hommes de Montréal en Novembre / Men from Montreal in November (Pascal Robitaille, Canada, 2015, 6mins)

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Una Società di Servizi / A Society of Services (Luca Ferri, Italia, 2015, 30mins)

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Break In (Mikel Aristregi & Jose Bautista, Spain, 2015, 25mins)

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Zone Zero (Farzad Moloudi, Belgium, 2015, 105mins)

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Mare Mediterraneum / Mediterranean Sea (Markus Keim, Austria, 2016, 10mins)

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Treve / A Time to Rest (Myriam el Hajj, Lebanon, 2016, 67mins)

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Poem and Stone (Maryam Tafakory, Iran, 2015, 10mins)

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So Long (Maria Berns, Mexico, 2016, 67mins)

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Something Horizontal (Blake Williams, Canada, 2015, 10mins)

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L’invention de l’annee 2016 / The Invention of the Year 2016 (Jean Seban, France, 2015, 93mins)

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Correpondencias do Front / Letters from War (Bruna Carvalho Almeida, Brazil, 2015, 13mins)

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The Curious Life of  Piter Eustaquio Rengifo Uculmana (Gianfranco Annichini, Peru, 2014, 72mins)

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World Cup (Mohamad & Ahmad Malas, France, 2016, 68mins)

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Postcards to Godzilla (Louis Fried, Germany, 2015, 6mins)

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Karst (Vladimir Todorovic, Serbia, 2015, 80mins)

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Aracati (Aline Portugal & Julia de Simone, Brazil, 2015, 62mins)

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My Talk with Florence (Paul Poet, Austria, 2015, 128mins)

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Hele Sa Hiwagang Hapis / A Lullaby to the Sorrowful Mystery (Lav Diaz, Philippines, 2016, 485mins)