ARKIPEL Penal Colony – International Competition: 31 Films

alkisah, seorang protagonis yang tiap kembali dari tualang dalam kehidupan sosial di luar, lantas memasuki kamarnya dengan selalu membiarkan pintu kamar itu tidak tertutup rapat. ia seperti selalu menghendaki celah—meski mungkin kecil saja—antara pintu dan batas dinding kamarnya di mana celah itu menjadi ruang ketiga atau ruang antara dari wacana senandikanya terhadap berbagai kejadian di luar yang melibatkan dirinya atau yang dengan sengaja memang diciptakannya pada hari ini, kemarin, atau esok nanti. ia merenungkan suatu tegangan yang terus-menerus berlangsung antara kedua dunia tersebut melalui celah itu agar ia bisa menetapkan suatu kondisi untuk menimbang-nimbang pikiran dan tindakannya sendiri, tetapi juga pikiran dan tindakan orang banyak. ia mengafirmasi, sekaligus mengkonfigurasi dirinya serta orang-orang lain dalam sebentuk situasi yang diakibatkan oleh tegangan antara geografi eksterior dan geografi interior melalui keterlibatannya sendiri. sekilas-sekilas, ia dapat menyadari eksistensinya atau perannya di luar sana, sekaligus negasi-negasi terhadapnya, dari tempatnya membuat sudut pandang. maka, dari sini dan kini ia melihat dinamika pertemuan yang terus-menerus antara eksterioritas dan interioritas dari situasi yang dibentuk dan dijelajahinya, dan, dari situlah keyakinan modernisnya pelan-pelan meluruh ke dalam realitas kontemporer hingga akhirnya, ia menyaksikan dari waktu ke waktu ruang-antara yang berasal dari celah itu kian memuai dan sang modernis nan eksentrik ini tak lagi sanggup mencegahnya ketika pandanganannya pun terserap ke dalam pemuaian itu.

once upon a time, a protagonist, whom everytime returns from his/her adventure in social life outside, then enters his/her room by always letting the door not be tightly closed. he/she seems to always want the gap – though only small – between the door and the boundary wall of his/her room, where the gap becomes the third space or the space between his/her soliloquy discourse with various events outside which involves himself/herself or he/she deliberately created today, yesterday, or tomorrow. he/she contemplates an ongoing encounter between those two worlds through the gap so that he/she can establish a condition to weigh his/her own thoughts and actions, but also the thoughts and actions of many others. he/she affirms, while configures himself/herself and others in a situation resulted from exterior geography and interior geography through his/her involvement. at a glance, he/she will realize his/her own existence and perhaps, his/her role out there, from where he/she decides his/her perspective. thus, from here and now he/she sees the ongoing encounter between the exteriors and interiors of a situation created and explored by him/her. and, that is where his modernist belief gradually decays into contemporary reality until finally, he/she sees from time to time the in-between world that emerged from the gap is increasingly expanding and the eccentric modernist is no longer able to prevent it when his/her perspective is also absorbed into that expansion.

Tiefenschärfe / Depth of Field (Alex Gerbaulet & Mareike Bernien, Germany, 2017, 15 mins.)

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Estate (Ronny Trocker, France, 2016, 9 mins.)

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Watching the Detectives (Chris Kennedy, Canada, 2017, 21 mins.)

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Terceiro Andar / Third Floor (Luciana Fina, Portugal, 2016, 62 mins.)

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HASHTI Tehran (Daniel Kötter, Germany, 2016, 59 mins.)

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Passage (Di Hu, China, 2016, 11 mins.)

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El Becerro Pintado / The Painted Calf (David Pantaleón, Spain, 2016, 10 mins.)

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Das Gestell (Philip Widmann, Germany, 2017, 30 mins.)

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Moo Ya (Filippo  Ticozzi, Italy, 2016, 63 mins.)

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Altas CIdades de Ossadas / High Cities of Bone (Joäo Salaviza, Portugal, 2016, 18 mins.)

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Welu de Fasli / Candlenut’s Fasli (Wahyu Utami Wati & Ishak Iskandar, Indonesia, 2016, 10 mins.)

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Maxamba (Suzanne Barnard & Sofia Borges, Portugal, 2015, 25 mins.)

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Alaalang Walang Malay / Unconscious Memory (Allan Balberona, Philippines, 2016, 81 mins.)

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Lying Women (Deborah Kelly, Australia, 2016, 4 mins.)

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. I’m Not a Woman (Hossein Abbasi, Iran, 2017, 53 mins.)

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Dadyaa / The Woodpeckers of Rotha (Pooja Gurung & Bibhusan Basnet, Nepal, 2016, 16 mins.)

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Les Trois Hirondelles / The Three Swallows (Jorge Cardena, Switzerland, 2016, 17 mins.)

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Turah (Wicaksono Wisnu Legowo, Indonesia, 2016, 82 mins.)

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Promenade (Philip Cartelli, USA, 2016, 31 mins.)

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картон рот і чача / Hangover, Cardboard, and Chacha (Samuel Patthey & Silvain Monney, Switzerland, 2016, 3 mins.)

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Final Gathering (Alain Escalle, France, 2016, 14 mins)

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Softman (Pietro Librizzi, Italy, 2016, 17 mins)

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Mikveh (Adrian Garcia Gomez, USA, 2016, 6 mins.)

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紀念中國城 / In Memory of the Chinatown (Chun-tien Chen, Taiwan, 2016, 30 mins.)

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Utsav (Suruchi Sharma, India, 2016, 28 mins.)

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Beti Bezperako Koplak / Couplets for an Everlasting Eve (Twenty young Basque artists, coordinated by Bego Vicario, Spain, 2016, 6 mins)

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Tidelands (Kika Nicolela, Brazil, 2015, 62 mins.)

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Nyo Vweta Nafta (Ico Costa, Portugal, 2017, 22 mins.)

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Housewarming (Effi Weiss and Amir Borenstein, Belgium & Albania, 2016, 34 mins.)

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Dwa Swiaty / Two Worlds (Maciej Adamek, Poland, 2016, 51 mins.)

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Backstage (Laurie Cohen, France 2016, 30 mins.)