{"id":12625,"date":"2024-08-30T16:07:38","date_gmt":"2024-08-30T09:07:38","guid":{"rendered":"https:\/\/arkipel.org\/?p=12625"},"modified":"2024-08-30T16:07:38","modified_gmt":"2024-08-30T09:07:38","slug":"2024ic08","status":"publish","type":"post","link":"https:\/\/arkipel.org\/2024ic08\/","title":{"rendered":"International Competition 8"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1724345004358{margin-bottom: 0px !important;}”]\n

Beberapa Memoar Samar
\n<\/b>Vague Memoirs<\/b><\/em><\/h1>\n

<\/h1>\n

Host: Otty Widasari
\n<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Sunday, August 25, 2024 | 16:00 | Bioskopforlen<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724343328943{margin-bottom: 0px !important;}”]Hadiah\u00a0<\/i><\/p>\n

Aku berbicara di tengah malam
\n<\/i>di tengah kegelapan
\n<\/i>Dan dari kegelapan malam aku berbicara<\/i><\/p>\n

 <\/p>\n

Jika kau datang ke rumahku, kawan
\n<\/i>Bawakan aku lampu, dan jendela tempat aku dapat melihat
\n<\/i>kerumunan di gang yang gembira<\/i><\/p>\n

 <\/p>\n

Itu adalah sebuah terjemahan bebas dari sebuah puisi karya Forough Farrokhzad, seorang penyair perempuan dari era Iran modern. Puisi tersebut diukir di atas batu nisan Farrokhzad\u2014hal yang lazim ditorehkan di kuburan-kuburan para penyair terkenal Iran\u2014seolah sang penyair menyuarakannya dari alam baka. Dan benar, puisi tersebut memosisikan diri yang berada di dalam kegelapan, di mana diri meminta untuk diberikan lampu untuk menerangi, dan sebuah jendela. Cukup gamblang puisi itu menggambarkan rasa terisolasi yang mendalam dan merindukan sebuah keterhubungan dengan dunia luar. Dalam puisi tersebut Farrokhzad tidak menyatakan dirinya ingin beranjak keluar, selain hanya untuk dapat melihat sebuah gang kecil yang digembirakan oleh kerumunan orang sebagai sebuah hadiah yang berharga. Semasa hidupnya, Farrokhzad dikenal sebagai sosok perempuan yang tidak konvensional, yang pada era 1950-an hingga 1960-an tidak mudah diterima oleh masyarakat Iran yang konservatif. Artinya, melalui puisi ini, semasa hidupnya Farrokhzad mensyairkan rasa keterasingan dan keterdambaan akan sebuah perubahan. Untuk itu, bagi sang penyair, sekadar melihat kegembiraan dari balik jendela pun, dalam situasi sosial-politik tertentu, adalah sebuah hal yang membahagiakan.\u00a0<\/i><\/p>\n

Keterhubungan antara interioritas dengan eksterioritas diri selalu mencerminkan kesinambungan interaksi ranah psikologis dengan sosial. Bisa selaras, bisa tidak, tetapi tetap saling mempengaruhi. Keterhubungan kita dengan dunia luar yang erat kaitannya dengan persoalan sosial, pada akhirnya menjadikan hubungan itu politis. Dalam konteks modern, kota adalah sebuah eksterior psikologis individu-individu di mana kaidah sistemis dan politik menaklukkan persoalan psikologis-individual. Melihat kota (eksterioritas) melalui sudut-sudut tersembunyi (interioritas) seperti menjadi sebuah aktivitas pengintaian yang menyenangkan sekaligus menegangkan, karena menjadikan apa-apa saja yang ada di wilayah publik sana menjadi sesuatu yang intim. Dan sebaliknya, realitas penatapan balik, seperti melihat kehidupan pribadi orang lain melalui media massa, mengubah gambaran kontekstual tentang voyeurisme.\u00a0<\/i><\/p>\n

Seandainya kita membayangkan sorotan mata kita sebagai sebuah gelombang yang merambat, seperti gelombang cahaya, maka pada titik-titik tertentu rambatan tersebut pasti terhambat oleh suatu rintangan atau celah. Dalam fenomena cahaya, pada setiap titik yang merintangi rambatan gelombangnya, cahaya akan mengalami difraksi atau pembelokan. Namun, dalam laku penatapan, bukan difraksi yang terjadi melainkan tatapan kita akan terhenti pada objek yang merintangi. Tatapan akan mengalami difraksi ketika ada interaksi politis, di mana terjadi aksi takluk-menakluk antara ranah psikologis yang mengintai dengan ranah sosial yang mengintai balik. Fenomena ini murni optis, yang melibatkan difraksi agenda penatapan. Dan saat penatapan itu berlaku pada kerja penyorotan kamera, agenda dikuasai sepenuhnya oleh siapa yang berada di balik jendela bidiknya.\u00a0<\/i><\/p>\n

Kumpulan filem dalam program ini memperbincangkan perihal pengintaian kota dari sudut-sudut interioritas agenda yang tersembunyi. Yang menarik dari filem-filem ini adalah, baik agenda penyorotan kamera pengawas milik penguasa maupun gambar-gambar temuan yang sudah samar kepemilikan tatapannya, di-agenda(ulang)-kan oleh para sutradara untuk menjadi titik awal penatapan baru. Agenda-agenda itu tersamar oleh arsitektur kota, yang di dalamnya mengandung mulai dari hal-hal ringan seperti mimpi, kisah-kisah cinta remaja di sudut kota, surat cinta di masa revolusi, pemandangan sebuah kota yang turistik, hingga malapetaka ekologis masyarakat perkotaan. Agenda-agenda ini memberikan kesinambungan antara keterasingan interioritas psikologis dengan eksterioritas sosial, seperti puisi Farrokhzad yang mungkin telah, atau entah kelak, menjadi hadiah bagi sebuah perjuangan.<\/p>\n

\u00a0<\/i>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724343429630{margin-bottom: 0px !important;}”]The Gift<\/i><\/p>\n

I speak from the deep of night
\n<\/i>Out from the deep of darkness
\n<\/i>And from the deep of night I speak.\u00a0<\/i><\/p>\n

If you come to my house, friend
\n<\/i>Bring me a lamp and a window through which I can look at the crowd in the happy alley.<\/i><\/p>\n

 <\/p>\n

Above is a free translation of a poem by Forough Farrokhzad, a female poet from modern-era Iran. The poem is engraved on her tombstone\u2014something that is common among famous poets in Iran\u2014as if the poet is reciting it from the afterlife. Indeed, the poem positions the self in darkness, asking for a lamp to illuminate, and a window. The poem clearly depicts a deep sense of isolation and longing for a connection with the outside world. In the poem, Farrokhzad does not state that she wants to go outside, but only to be able to see a small alley that the crowd is enjoying as a precious gift. During her lifetime, Farrokhzad was known as an unconventional woman, which was not easily acceptable in the conservative Iranian society of the 1950s and 1960s. This means that through this poem, Farrokhzad poetizes about her sense of alienation and yearning for change. Thus, for the poet, just seeing joy from behind a window, in a certain socio-political situation, is something to be happy about.<\/p>\n

The connection between the interiority and exteriority of the self always reflects the continuum of interaction between the psychological and social. They may or may not align, but they still influence each other. Our connection with the outside world, which is closely related to social issues, ultimately makes the relationship political. In the modern context, the city is a psychological exterior of individuals where systemic and political principles conquer the psychological-individual issues. Looking at the city (exteriority) through its hidden corners (interiority) seems to be an exciting and tense voyeuristic activity, as it makes everything in the public domain intimate. On the opposite, the reality of reverse voyeurism, such as viewing other people’s private lives through mass media, changes the contextual portrayal of voyeurism.<\/p>\n

If we imagine the beam of our eyes as a propagating wave, like a light wave, then the propagation must be obstructed at certain points by an obstacle or gap. In this phenomenon, at any point where the wave is obstructed, the light will experience diffraction or deflection. In the practice of gazing, however, it is not diffraction that occurs but rather our gaze will stop at the obstructing object. The gaze will experience diffraction when there is a political interaction, where there is an act of subjugation between the psychological realm that spies and the social realm that spies back. This phenomenon is purely optical, involving the diffraction of the gaze agenda. And when that gaze is being applied to camera work, the agenda is fully controlled by whoever is behind the viewfinder.<\/p>\n

The films in this program discuss urban surveillance from the interiority of hidden agendas. The interesting thing about these films is that both the agenda of the surveillance cameras of the authorities and the found footage whose gaze is now unknown, are being reconstructed by the directors to become the starting point of a new gaze. These agendas are disguised within the city’s architecture, which contains everything from mundane things like dreams, teenage love stories from the corner of the city, love letters from the revolution, touristy views of the city, and the ecological catastrophe of urban society. These agendas provide a continuity between the alienation of psychological interiority and social exteriority, just as Farrokhzad’s poetry may have been, or may one day be, a gift for a struggle.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724227280858-e56cb026-59b7″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724346857027{margin-bottom: 0px !important;}”]\n

373, Pasteur Street<\/h2>\n

Filmmaker\u00a0<\/em>Isma\u00ebl<\/strong> (Tunisia)
\nInternational Title<\/em> 373, Pasteur Street
\n<\/strong>Country of Production<\/em>\u00a0 Tunisia
\n<\/strong>Language<\/em> French
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

32 min, Surround, DCP \/ Digital file, 16:9, HD, Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724346873090{margin-bottom: 0px !important;}”]Sebuah narasi surat cinta yang menceritakan kisah di masa sebelum kehancuran kota Beirut. Kisah personal ini direfleksikan pada ruang-ruang publik yang ramai di sekitar pelabuhan, melalui pengambilan gambar yang mengintai dari balkon-balkon yang tinggi. Namun, ketika kamera masuk langsung ke jantung kota, yang terlihat hanyalah puing-puing kehancuran kota.<\/p>\n

\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724346890248{margin-bottom: 0px !important;}”]A love letter narrative that tells the story of a time before the destruction of Beirut. This personal story is reflected through public spaces that bustle around the harbor, and through shots that lurk from high balconies. However, when the camera goes straight into the heart of the city, all that is visible is the ruins.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724227281416-fbff1039-bfbc”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12673″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724347069678{margin-bottom: 0px !important;}”]Isma\u00ebl<\/strong><\/em> adalah seorang sineas, seniman visual, dan penulis.\u00a0 Sebagai sutradara, ia menyutradarai Black Medusa (Tiger Competition, IFFR 2021), Fragments of self-phone-destruction (dianugerahi di Experimental and Different Cinema Festival, 2019), Leila’s blues (tayang perdana di Cannes Director’s Fortnight tahun 2018), Babylon (Grand Prize, FID Marseille 2012), dan masih banyak lagi. Karya-karya seni visualnya, baik film eksperimental atau karya fotografi, seni video, karya cetak, media campuran atau instalasi multimedia, ditampilkan dan dipamerkan di beberapa tempat. Ia juga menerbitkan banyak puisi, makalah, artikel dan esai pendek di berbagai media cetak dan online.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724347087921{margin-bottom: 0px !important;}”]Isma\u00ebl<\/strong><\/em> is a filmmaker, a visual artist and a writer.\u00a0 As filmmaker he directed Black Medusa (Tiger Competition, IFFR 2021), Fragments of self-phone-destruction (awarded at Experimental and Different Cinema Festival, 2019), Leila\u2019s blues (premiered at Cannes Director\u2019s Fortnight in 2018), Babylon (Grand Prize, FID Marseille 2012) among others. He\u2019s visual arts works, either experimental films or photography works, video art, printed works, mixed media or multimedia installations, were featured and showcased and exhibited at several venues. He also published numerous poems, papers, articles and short essays on several printed and online publications.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724346664184-74b83a4c-ab0c”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12373″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724346568042{margin-bottom: 0px !important;}”]\n

De tiempos y recuerdos \/ Of times and memories<\/h2>\n

Filmmaker\u00a0<\/em>Jaime Marqu\u00e9s Cordero<\/strong> (Spain)
\nInternational Title<\/em> De timpos y recuerdos\/ Of time and memories
\n<\/strong>Country of Production<\/em>\u00a0 Spain
\n<\/strong>Language<\/em>\u00a0 Spanish, English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

6 min, Stereo, mp4 \/ mov, 4:3, 8mm, Color, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724345326420{margin-bottom: 0px !important;}”]Sebuah esai tentang mimpi yang dirangkai dari temuan seluloid rumahan masa lalu. Penggambaran kehidupan di dalam rumah <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724345335284{margin-bottom: 0px !important;}”]An essay on dreams assembled from past home celluloid findings. A depiction of life in the house.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724346664803-3e5e3c2a-775b”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12670″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724345232731{margin-bottom: 0px !important;}”]Jaime Marqu\u00e9s Cordero<\/strong><\/em> adalah seorang mahasiswa pembuat film dokumenter berusia 25 tahun di Escuela de Cinematograf\u00eda y del Audiovisual de Madrid (ECAM). Setelah menempuh pendidikan di bidang hukum, ia memutuskan untuk mengabdikan dirinya pada minatnya yang sebenarnya, yaitu pembuatan film. Saat ini, ia sedang membuat film pendek pertamanya bersama beberapa teman sekolah dan teman-temannya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724345252187{margin-bottom: 0px !important;}”]Jaime Marqu\u00e9s Cordero<\/strong><\/em> is a 25-year-old student of documentary filmmaking at the Escuela de Cinematograf\u00eda y del Audiovisual de Madrid (ECAM). After studying a degree in Law, he decided to devote himself to his true passion, filmmaking. He is currently making his first short films along with some of his schoolmates and friends.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12384″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724343661221{margin-bottom: 0px !important;}”]\n

Vague du Midi<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Sylvain Dufayard<\/strong> (Belgium)
\nInternational Title<\/em> Vague du Midi
\n<\/strong>Country of Production<\/em>\u00a0 Belgium
\n<\/strong>Language<\/em>\u00a0 French
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

25 min, Stereo, DCP, 16:9, HD, Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724343684244{margin-bottom: 0px !important;}”]Perluasan amatan dari jendela apartemen kecil ke cetak biru arsitektur kota yang dipatok dengan batas-batas tak terlihat. Penanda-penanda kota Brussel disandingkan dengan bedeng-bedeng dan api unggun para pengungsi di lahan yang sementara ini masih kosong.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724343698444{margin-bottom: 0px !important;}”]Expanding the gaze from a small apartment window to an architectural blueprint of a city defined by invisible boundaries. The landmarks of Brussels are juxtaposed with the beds and campfires of the refugees on the temporarily vacant land.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12669″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724343809749{margin-bottom: 0px !important;}”]Sylvain Dufayard<\/strong><\/em> bekerja di Brussels sebagai sineas dokumenter. Dia menggantungkan hasratnya atas kecintaannya pada kehidupan dan kemauan yang kuat untuk menyuarakan ketidakadilan yang menghalanginya. Dia sering bekerja berpasangan atau kolektif, sebuah cara untuk bergerak maju dengan akurat dan terus mempertanyakan posisinya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724343835651{margin-bottom: 0px !important;}”]Sylvain Dufayard<\/strong><\/em> works in Brussels as a documentary filmmaker. He owes his passion to his love for the living and a tenacious will to make the injustices that hinder him speak. He often works in pairs or collectives, a way to move forward with accuracy and to constantly question his positions.
\n<\/span><\/p>\n



[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724228373653-835b91d2-3431″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724346343298{margin-bottom: 0px !important;}”]\n

Difraksi \/ Diffraction<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Sigat Rambito<\/strong> (Indonesia)
\nInternational Title<\/em> Difraksi \/ Diffraction<\/strong>
\nCountry of Production<\/em>\u00a0 Indonesia
\n<\/strong>Language<\/em> Indonesian<\/strong>
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

13 min, Mono, h.264, 4:3, HD, Color, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724346489232{margin-bottom: 0px !important;}”]Pengamatan terhadap satu sudut kota yang terdifraksi dan menjadi fragmen-fragmen romansa para remaja. Fragmen-fragmen itu saling bersilangan ke kanan, ke kiri, ke atas, dan ke bawah.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724346507902{margin-bottom: 0px !important;}”]An observation of a corner of the city that diffracts and becomes fragments of teen romance. The fragments cross right, left, up, and down.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724228374273-86359026-9f36″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12659″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724346450958{margin-bottom: 0px !important;}”]Sigat Rambito, sutradara otodidak yang memiliki ketertarikan untuk mengeksplorasi bahasa visual, terutama hubungan antara manusia dan benda-benda.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724346464500{margin-bottom: 0px !important;}”]Sigat Rambito, a self taught director who has an interest in exploring visual language, especially a connection between humanity and the inanimate.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724346938266-946d9283-7d20″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12368″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724347322752{margin-bottom: 0px !important;}”]\n

March 8, 2020: A Memoir<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>F\u0131rat Y\u00fccel (Netherlands, Turkey)
\nInternational Title<\/em> March 8, 2020: A Memoir<\/strong>
\nCountry of Production<\/em>\u00a0 Netherlands, Turkey
\n<\/strong>Language<\/em> Turkish
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

15 min, Stereo, Screen recording, 16:9, Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724347492455{margin-bottom: 0px !important;}”]Pertandingan antara kuasa kamera pengawas milik pemerintah dengan ingatan kolektif warga yang dibingkai oleh sebuah percakapan latar di depan desktop<\/i>. Percakapan latar tersebut mendiskusikan titik buta lokasi perayaan Feminist Night March<\/i>, sebuah demonstrasi terakhir di Istanbul sebelum pandemi.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724347505443{margin-bottom: 0px !important;}”]A contestation between the power of government surveillance cameras and the collective memory of citizens is framed by a background conversation in front of a desktop. The background conversation discusses the blind spot location of the Feminist Night March, the last demonstration in Istanbul before the pandemic.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724346939058-47aacf09-37f7″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12674″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724347436020{margin-bottom: 0px !important;}”]F\u0131rat Yucel<\/strong><\/em> adalah seorang kritikus film dan sineas. Ia turut mendirikan majalah sinema bulanan Altyaz\u0131 pada tahun 2001, dan bekerja sebagai pemimpin redaksi majalah tersebut sejak saat itu. Ia turut menyutradarai Kapal\u0131 Gi\u015fe<\/i> (Only Blockbusters Left Alive<\/i>, 2016), dan bekerja sebagai ko-editor film dokumenter Welcome Lenin<\/i> dan Audience Emancipated: The Struggle<\/i> for the Emek Movie Theater pada tahun 2016. Pada tahun 2019, ia turut menyutradarai film Heads and Tails<\/i> bersama Aylin Kuryel. F\u0131rat Y\u00fccel dan Aylin Kuryel memproduksi film dengan duo artistik kolektif mereka yang disebut Image Acts.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724347472100{margin-bottom: 0px !important;}”]F\u0131rat Yucel<\/strong><\/em> is a film critic and a filmmaker. He co-founded Altyaz\u0131 Monthly Cinema Magazine in 2001, and worked as the magazine\u2019s editor in chief since then. He co-directed Kapal\u0131 Gi\u015fe<\/i> (Only Blockbusters Left Alive, 2016), worked as the co-editor of the documentaries Welcome Lenin<\/i> and Audience Emancipated: The Struggle<\/i> for the Emek Movie Theater in 2016. In 2019, he co-directed Heads and Tails<\/i> with Aylin Kuryel. F\u0131rat Y\u00fccel and Aylin Kuryel produce films with their artistic duo collective called Image Acts.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1724347530606-a8b91220-8d5d”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724347735179{margin-bottom: 0px !important;}”]\n

The Kitten\u2019s Tea Party<\/b><\/strong><\/h2>\n

Filmmaker <\/em>MilleFeuille (aka MiruFiyu)<\/strong>(Canada)
\nInternational Title<\/em> The Kittens’ Tea Party<\/strong>
\nCountry of Production<\/em> Canada
\n<\/strong>Language<\/em> English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

11 min, Stereo, Digital, Color, 2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724347753340{margin-bottom: 0px !important;}”]Penggabungan gambar-gambar temuan dan gambar-gambar dari kamera CCTV, yang dimontasekan sebagai struktur penceritaan. Ketegangan antara hewan peliharaan dengan hewan liar mengancam kehidupan di perkotaan. Sebuah pantulan sinematik tentang domestifikasi yang bisa menyebabkan malapetaka ekologis.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724347770631{margin-bottom: 0px !important;}”]An amalgam of found footage and footage from CCTV cameras, montaged as a storytelling structure. The tension between pets and wild animals threatens life in the city. A cinematic reflection on domestication that can cause ecological catastrophe.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724347531590-b7bd1f21-a8cf”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12675″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724347882708{margin-bottom: 0px !important;}”]MilleFeuille<\/strong><\/em> (alias MiruFiyu) dinamai sesuai dengan kue “thousand leaves” yang terkenal yang tidak diketahui asal-usulnya karena seperti daun yang tertiup angin yang melayang di atas daratan dan melintasi waktu, kue “thousand leaves” adalah campuran abadi.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724347903901{margin-bottom: 0px !important;}”]MilleFeuille<\/strong><\/em> (aka MiruFiyu) is named after a famous \u201cthousand leaves\u201d pastry whose origin is unknown because like windblown leaves drifting over lands and through time, the \u201cthousand leaves\u201d pastry is an eternal remix.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1725008814261{margin-bottom: 0px !important;}”]Otty Widasari<\/b>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1725008831438{margin-bottom: 0px !important;}”]Otty Widasari<\/b><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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