{"id":11348,"date":"2022-10-31T07:59:38","date_gmt":"2022-10-31T00:59:38","guid":{"rendered":"https:\/\/arkipel.org\/?p=11348"},"modified":"2022-10-31T07:59:38","modified_gmt":"2022-10-31T00:59:38","slug":"arkipel-2022-catch22-22-films-international-competition-2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-2022-catch22-22-films-international-competition-2\/","title":{"rendered":"ARKIPEL Catch-22 – International Competition: 22 Films"},"content":{"rendered":"[vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1667159373016{margin-bottom: 0px !important;}”]Setelah menerima kiriman dari 728 filem dari 76 negara, <\/span>ARKIPEL Catch 22 \u2013 Jakarta International Documentary and Experimental Film Festival 2022<\/span><\/i> akhirnya memilih 22 filem untuk berkompetisi dalam program <\/span>International Competition<\/span><\/i>. Filem-filem yang dipilih oleh tim penyeleksi ini terdiri dari berbagai genre dan metode produksi, yang memberikan pengalaman segar dalam melihat perkembangan sinema kontemporer. Dari ratusan filem yang masuk ke ARKIPEL tahun ini, tentu saja ada banyak filem-filem yang memukau, menarik, dan menghadirkan eksplorasi bahasa sinema yang tak kalah dari 22 filem yang dipilih. Namun, kami tetap harus memutuskan untuk memilih karya-karya yang menurut tim penyeleksi dapat membingkai tema <\/span>Catch-22<\/span><\/i> dalam sinema, yang menjadi tema ARKIPEL tahun ini. <\/span>Catch-22<\/span><\/i> adalah sebuah situasi di mana kebenaran yang paradoks bertemu dengan pilihan yang kontradiktif dan menghasilkan kesimpulan yang absolut. Itu adalah sebuah logika yang merupakan titik berangkat festival tahun ini, dan mengimajinasikan bagaimana ide tersebut diterapkan ke dalam wilayah sinema. Melalui proses seleksi ketat, kami berkesimpulan bahwa ke 22 filem yang masuk ke dalam kompetisi internasional ini setidaknya dapat membingkai fenomena global terkini dan juga memperlihatkan metode kerja di belakangnya, serta memeriksa premis-premis yang membangunnya. Sepanjang sejarahnya, sinema selalu hadir untuk menjelajahi parit-parit yang luput dari tuntutan informasi atas peristiwa kemanusiaan terkini. Hasrat sinema mengendapkan peristiwa-peristiwa, merekayasanya balik dengan konstruksi puitik menuju suatu absolutisme atau keterbukaan. Berikut filem-filem yang berkompetisi pada <\/span>International Competition ARKIPEL Catch-22:<\/span><\/i>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1667159393251{margin-bottom: 0px !important;}”]After receiving submissions of 728 films from 76 countries, ARKIPEL Catch 22 \u2013 Jakarta International Documentary and Experimental Film Festival 2022 finally selected 22 films to compete in the International Competition program. The films selected by the selection team consist of various genres and production methods, which provide a fresh experience in seeing the development of contemporary cinema. Of the hundreds of films that have entered ARKIPEL this year, of course there are many films that are stunning, interesting, and present an exploration of the cinematic language that is no less than the 22 films selected. However, we still have to decide to choose the works that according to the selection team can envisage the Catch-22 theme, which is ARKIPEL’s theme this year.\u00a0<\/span><\/p>\n

 <\/p>\n

Catch-22 is a situation where paradoxical truth meets contradictory choices and results in absolute conclusions. It is a logic that is the starting point for this year’s festival, and imagining how the idea is applied to the realm of cinema. Through a rigorous selection process, we concluded that the 22 films that entered this international competition could at least frame the latest global phenomenon and also show the working methods behind it, as well as examine the premises behind the construction of those films. Throughout its history, cinema has always existed to explore the trenches that have escaped the demands of information on current humanitarian events. The desire of cinema to precipitate events, to mold them in reverse with poetic construction towards an absolutism or openness. The following are the films in the ARKIPEL Catch-22 International Competition:<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][mk_ornamental_title font_family=”none” font_size=”18″ font_weight=”bold” txt_transform=”uppercase” ornament_style=”norman-single” ornament_color=”#000000″ margin_top=”40″ margin_bottom=”40″]KOMPETISI INTERNASIONAL \/ INTERNATIONAL COMPETITION[\/mk_ornamental_title][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text disable_pattern=”false” margin_bottom=”1″ css=”.vc_custom_1667161842490{margin-bottom: 0px !important;}”]\"\"
\n<\/strong><\/em><\/span><\/p>\n

The Efficiency Exhibition
\n<\/b>(55 min, Ireland, 2022)
\n<\/span>Director: Di Hu<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

\"\"<\/span><\/p>\n

Parasite Family<\/b>
\n<\/span>(5 min, Thailand, 2022)
\n<\/span>Director<\/span>: <\/b>Prapat Jiwarangsan<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

\"\"
\n(Tvornica filmova – The Film Factory<\/b>
\n<\/span>(15 min, Croatia, 2022)
\n<\/span>Director: Silvestar Kolbas<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/p>\n

\"\"
\nMova oborony
\n<\/b>(12 min, Ukraine, 2022)
\n<\/span>Director: Oleksandr Isaienko<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nThe Deep
\n<\/b>(11 min, New Zealand, 2022)
\n<\/span>Director: Gavin Hipkins<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nA Night of Knowing Nothing<\/b>
\n<\/span>(99 min, India, 2021)
\n<\/span>Director: Payal Kapadia<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nDescartes \/ <\/b>Outtakes
\n<\/b>(21 min, Spain, 2021)
\n<\/span>Director: Concha Barquero & Alejandro Alvarado<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nMayday! May day! Mayday!)<\/b>
\n<\/span>Min, Indonesia, 2022)
\n<\/span>Director: Yonri Revolt<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nMake a Distinction
\n<\/b>(61 min, USA, 2021)
\n<\/span>Director: Kera MacKenzie and Andrew Mausert-Mooney<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nThere Will Be No More Night
\n<\/b>(76 min, France, 2020)
\n<\/span>Director: Eleonore Weber<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nNeighbour Abdi
\n<\/b>(28 min, Netherlands, 2022)
\n<\/span>Director: Douwe Dijkstra<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nBy The Throat
\n<\/b>(77 min, Belgium, 2021)
\n<\/span>Director: Amir Borenstein and Effi Weiss Effi<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/p>\n

\"\"
\nMinimal Sway While Starting My Way Up
\n<\/b>(15 min, France & Finland, 2021 )
\n<\/span>Director: St\u00e9phanie Lagarde<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nBroca’s Aphasia
\n<\/b>(84 min, Taiwan, 2022)
\n<\/span>Director: Ming-Yen Su<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nSedap Malam \/ Agave Amica
\n<\/b>(15 min, Indonesia, 2022)
\n<\/span>Director: Gembong Nusantara<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nLike an Island \/ L’\u00eelot\u201d
\n<\/b>(104 min, Switzerland, 2022)
\n<\/span>Director: Tizian Buchi<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nChronicle of That Time
\n<\/b>(76 min, Switzerland & Italy, 2021)
\n<\/span>Director: Maria Iorio & Rapha\u00ebl\u00a0<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nWomen Minor Speculations
\n<\/b>(60 min, Croatia, 2021)
\n<\/span>Director: Nicole Hewitt<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nSkin \/ Pele
\n<\/b>(75 min, Brazil, 2021)
\n<\/span>Director: Marcos Pimentel<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nLandscape Suspended
\n<\/b>(27 min, Iran & Canada, 2022)
\n<\/span>Director: Naghmeh Abbasi<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nThis Rain Will Never Stop
\n<\/b>(103 min, Ukraine, 2020)
\n<\/span>Director: Alina Gorlova (103 min)\u00a0<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

–<\/b><\/p>\n

\"\"
\nPRISM
\n<\/b>(77 min, Belgium, 2021)
\n<\/span>Director: An van Dienderen, El\u00e9onore Yameogo & Rosine Mbakam<\/span><\/p>\n

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