{"id":5446,"date":"2016-08-03T14:09:33","date_gmt":"2016-08-03T07:09:33","guid":{"rendered":"http:\/\/arkipel.org\/?p=5446"},"modified":"2017-08-02T19:36:59","modified_gmt":"2017-08-02T12:36:59","slug":"arkipel-socialkapital-international-competition-lineup","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-socialkapital-international-competition-lineup\/","title":{"rendered":"ARKIPEL social\/kapital: International Competition Lineup"},"content":{"rendered":"[vc_row][vc_column][vc_column_text]Sinema adalah tindakan bermetode dengan berbagai kemampuan taktis untuk membela zamannya terhadap masa lampau maupun masa depan. Masing-masing lingkup punya tanggungjawab dan konsekuensi bahasa, lingkungan, dan kemasyarakatan sejalan konteks yang dipilihnya. Menimbang dan mengagendakan suatu konteks menentukan karakter sebuah filem untuk menawarkan akses-akses tersebut kepada publiknya. 25 filem dalam Seleksi Kompetisi berikut ini menggemakan sinyal-sinyal akan pernyataan itu.<\/p>\n

Cinema is an action with method, with a variety of tactical ability to defend his time to the past or future. Each scope has the responsibility and consequences of language, milieu, and social in line with the context of its choice. Considering and setting up the agenda of a context will determine the character of a film in offering the accesses for the public. 25 films selected into the competition as follows, they echo the signals of the statement.<\/span><\/p>\n

\u2014<\/span>\u00a0Ugeng T. Moetidjo<\/strong>, Chief of the ARKIPEL Selection Committee<\/em><\/p>\n[\/vc_column_text][mk_divider style=”thin_solid” thin_single_color=”#dddddd” margin_top=”40″ margin_bottom=”80″][vc_column_text]\"An<\/p>\n

An Inaccurate Distance<\/strong> (Giovanni Giaretta, Italy, 2015, 16mins)<\/h3>\n

Bahasa merupakan jalan individu memasuki dunia bermasyarakat. Seorang penerjemah, individu yang mencoba untuk menjembatani gap antar bahasa, memiliki tanggung jawab untuk mengalihbahasakan kultur dan ideologi asal ke target bahasanya. Cakrawala perbedaan bahasa dan budaya sendiri dihadirkan melalui bidikan properti pribadi sang penerjemah sekaligus penutur filem seperti tulisan-tulisan tangan dari bahasa Ukraina dan Rusia, mesin ketik, mesin fotokopi, gambar-gambar cetak, dan lukisan.<\/p>\n

Lahir pada tahun 1983, Giovanni Giaretta<\/strong> adalah seorang seniman dan pembuat filem. Ia mendapatkan pendidikan Desain Produksi Seni Visual dan mengantongi gelar sarjana dalam Didaktika Seni. Karyanya telah dipamerkan ke berbagai tempat di Eropa. Saat ini Giaretta tinggal dan bekerja di Amsterdam.<\/em><\/p>\n

Language is a way for individual to enter a society. An interpreter, an individual who attempts to bridge the language gap, holds the responsibility to interpret source culture and ideology to the target language. The horizon of language and cultural differences itself is presented through shots on personal properties of the interpreter who is also the film narrator, such as handwriting in Ukrainian and Russian, typewriter, photocopy machine, printed images, and paintings. <\/span><\/p>\n

Giovanni Giaretta<\/strong>, born in 1983, is an artist and a filmmaker. He was educated in Visual Arts Production Design in Venice and holds a BA in Didactics of Arts. His work has been exhibited throughout Europe. Giaretta lives and works in Amsterdam.<\/span><\/em><\/p>\n

–<\/p>\n

\"Saida-Despite-Ashes\"<\/strong><\/p>\n

Saida Despite The Ashes <\/strong>(Soumaya Bouallegui, Tunisia, 2016, 52mins)<\/h3>\n

Perempuan-perempuan baya menuturkan identitasnya, sejarahnya, dan kepercayaannya pada Saida Manouba, perempuan dari 700 tahun yang lalu. Keteguhan untuk menyerahkan hidupnya pada ritus, pada bangunan keramat pusat roda sosial dan perekonomian bagi para perempuan baya ini menyebabkan mereka berhadapan dengan politik garis keras yang pernah membakar bangunan tersebut. Figur lelaki hanya ditampilkan samar, tak mendapat tempat \u2018tuk bicara dalam filem.<\/p>\n

Soumaya Bouallegui<\/strong> adalah pembuat filem dokumenter dan sutradara teater yang lahir di tahun 1979. Ia secara aktif tergabung dan berpartisipasi dalam berbagai forum sinema dan teater. Karya-karyanya telah dipamerkan ke berbagai tempat di Eropa dan Timur Tengah, seperti Tunisia, Denmark, dan Yordania.<\/em><\/p>\n

Middle-aged women explain their identities, histories, and their beliefs to Saida Manouba, a woman from 700 years ago. The persistence to surrender their lives to the rites, the sacred building center of social and economic wheels for these middle-aged women had led them against the hard line politics that once burned the building. The men figures were depicted only vaguely, with no place to speak in the film. <\/span><\/p>\n

Soumaya Bouallegui<\/strong> is a documentary filmmaker and theater director, was born in 1979. She has involved and participated in various theater and cinema forums. Her works are exhibited through out Europe and Middle East, namely Tunisia, Denmark and Jordan.<\/span><\/em><\/p>\n

–<\/p>\n

\"The-Ember-the-Ashes\"<\/strong><\/p>\n

The Ember of The Ashes <\/strong>(Nicolas Azalbert, France, 2015, 63mins)<\/h3>\n

Ingatan terbentuk dari perjalanan, dari tempat singgah sementara, dari monolog seorang perempuan di kamar remang-remang, dan dari jendela kereta yang melintasi pabrik serta jalanan asing namun dekat. Memori tersebut terjalin sebagai penanda satu hal: “Sejarah Eropa dan relasinya dengan sekarang”. Jalinan puisi yang dibenturkan dengan cuplikan Octobre<\/em>-nya Eisenstein dan J’Accuse<\/em>-nya Abel Gance, yang menyiratkan kepedihan.<\/p>\n

Nicolas Azalbert<\/strong> adalah pembuat filem berdomisili di Paris. Ia adalah kritikus filem di majalah Cahier du Cinema sejak tahun 2000, dan pada 2009 ia menjadi tim redaksi di majalah tersebut. Berbagai filem karya Azalbert terpilih di banyak festival filem internasional, seperti Festival Film Wina dan Cali.<\/em><\/p>\n

Memories formed from journeys, from temporary resting places, from the monologue of a woman in a dim-lit room, and from the train window passing through a factory and the strange but close streets. The memories are entwined as a symbol of one thing: “History of Europe and its current relation.” A weave of poetry is pitted against the clips of Eisenstein’s Octobre and Abel Gance’s J’Accuse reflecting misery.
\n<\/strong><\/span><\/p>\n

Nicolas Azalbert<\/strong> is Paris-based filmmaker. He works as film critic in Cahiers du Cin\u00e9ma since 2000, and serves as editorial board in 2009.\u00a0Several of his films such have been selected in many international film festivals, such Vienna Film Festival and Cali Film Festival.<\/span><\/em><\/p>\n

–<\/p>\n

\"Champ<\/strong><\/p>\n

Champ Des Possibles <\/strong>(Cristina Picchi, Canada\/Sweden\/Italy, 2015, 14mins)<\/h3>\n

Para pemukim kota menjalani kehidupan mereka bersama kerumunan. Tanpa saling kenal. Tanpa saling sapa. Seperti sosok di billboard-billboard<\/em> iklan. Kebersamaan yang mengasingkan setiap orang, ketika di setiap menitnya, ruang-ruang survival melulu memenjara dan cuma menawarkan kesepian yang menekan. Beberapa orang mungkin punya sedikit ide pelarian meski sangsi, sebab, itu sekadar jeda singkat untuk kembali masuk ke dalam perangkap yang mengucilkan setiap pribadi. Satu elegi tentang kejenuhan dan rasa tak nyaman warga atas tekanan sosial dan kota mereka, yang selamanya hanya bisa mereka lalui dalam kerutinan dan kerutinan yang mendistorsi kehendak, emosi, impian, dan kehadiran diri. Mereka tak ubahnya sekawanan burung atau sedahan reranting yang menggetas.<\/p>\n

Cristina Picchi <\/strong>adalah adalah seniman dan pembuat filem asal Italia yang memenangkan banyak penghargaan. Karya-karyanya banyak ditampilkan di berbagai galeri dan festival seperti Locarno, Clermont-Ferrand dan Thessaloniki. Ia mendapatkan gelar master pada bidang filem produksi filem dokumenter dari Universitas London Goldsmith.<\/em><\/p>\n

The townspeople live their lives along in the crowd. Without knowing each other. Without greeting in each other. Like the figure in advertising billboards. A togetherness that was alienating everyone, when in every minute, survival spaces merely imprison and only offer an oppressive loneliness. Some people might have a little idea to escape despite shillyshally, because, it was just a brief respite to get back into the trap which alienates the individual. It’s one elegy about boredom and discomfort of citizens on social pressures and their city, which they can only ever go through in routine and regularity that distort the will, emotions, dreams, and the presence of self. They were like a flock of birds or fragile twigs.<\/span><\/p>\n

Cristina Picchi<\/strong> is an award winning Italian filmmaker, writer and visual artist based in London.\u00a0Her films have been screened in festivals and galleries worldwide, winning prizes in festivals such as Locarno, Clermont-Ferrand and Thessaloniki. She holds a master’s degree in Screen Documentary from Goldsmiths University of London.<\/em> <\/span><\/p>\n

–<\/p>\n

\"Kodachrome\"<\/strong><\/p>\n

Kodachrome <\/strong>(K-14 [Agatha Corniquet, Julien Doigny, Nicolas Lebecque, Thyl Mariage, Lydie Whishaupt-Claudel]<\/em>, Belgium, 2013, 63mins)<\/h3>\n

Empat anak muda Paris menyeberang ke benua demi menyambangi sebuah toko lab filem Kodak terakhir yang bakal tutup, nun di kota kecil Parsons, Kansas. Mereka merekam romansa perjalanan itu dengan Kodachrome langka yang berhasil mereka miliki. Konsekuensinya, citra-citra dari bidikan diari petualangan mereka ibarat menyusuri secara terbalik, lorong waktu dari lampau ke kini, lewat teknologi dan bahan baku lawas dari salah satu produsen pionir gambar bergerak yang sekarang bangkrut. Filem pintar yang mengasyikkan ini mengaju cakap bagaimana dunia analogia merefleksikan dunia digitalia sebagai materi visual yang khas, selain merupakan dokumen sosial yang dihidupkan secara personal di masa yang berbeda sekarang.<\/p>\n

K-14<\/strong> berdiri atas inisiatif penulis-penulis yang bertemu di Brussel. K-14 berusaha terus melakukan eksperimen terhadap film-film buatannya dan berusaha untuk tidak terpaku pada berbagai genre yang konvensional dalam dunia sinema. Bahasa filem yang ditawarkan K-14 adalah ekspresi paling intim dari setiap anggotanya.<\/em><\/p>\n

Four Parisian young guys crossed to the continent for the sake of visiting the last Kodak filmlab store that was going to be closed, far away in the small town of Parsons, Kansas. They recorded the romance of the traveling with a rare Kodachrome that was successful they had. Consequently, the images of diary footages of their adventure explored in reverse, a passage of time from past to present, through a technology and old raw material of one of the bankrupt pioneer producer of moving image. This smart but exciting film invites a conversation on how analogia world reflect digitalia world as a distinctive visual material, besides it’s also as a social document turned on personally in a different time, now.<\/span><\/p>\n

K-14 <\/strong>is authors-initiative collectives created in Brussels. They try to experiment with new methods in presenting films and distance from conventional genres in cinema. Its language in film is intimate expression from each author.<\/span><\/em><\/p>\n

–<\/p>\n

\"Sand\"<\/strong><\/p>\n

Sand <\/strong>(Brice Bowman, USA, 2015, 9mins)<\/h3>\n

Gaya filem ini merupakan proyeksi ganda seluloid 8mm yang secara fisik menghasilkan efek multiple exposure<\/em> dari dua atau lebih citra yang bergantian saling mengisi, bertolakan, melatar, atau memfokus, kadang tanpa simetrikal sehingga bidang representasi terasa diperbarui. Kesan yang muncul adalah jukstaposisi silangan oleh relasi diametral terus-menerus antar bidang dan gambar dari sejumlah footage<\/em> temuan. Bias naratif yang baru dikesan bersama tempo dan kemunculan kerjap cahaya, warna, guratan, noktah lebar dari rusakan filem, yang lebur sebagai getaran visual beragam momen\u2014fiksi entah dokumenter\u2014yang menerbitkan sugesti tertentu akan tragik mengenai seseorang, sebuah keluarga atau entah siapa. Sebuah filem dengan jejak tradisi eksperimental.<\/p>\n

Brice Bowman<\/strong> (1951) adalah seorang pembuat filem eksperimental berpengalaman. Karya-karyanya telah dipamerkan di berbagai negara bagian di Amerika dan juga di banyak negara Eropa.<\/em><\/p>\n

The style of this film is a double projection of 8mm celluloid that physically produce a ‘multiple exposure’ effect of two or more images, which are alternately complement, conflict, underlie or focus, sometimes without symetrical so that the field of its representation was felt updated. The impression that emerges then is a kind of\u00a0 cruciferous juxtaposition by the diametrically continuous relation between the field and the image of a number of findings footage. The new refraction narrative was impressed together with the tempo and the emergence of light, color, strokes, large nodes of the damaged film, melting as a visual vibration of various moments, whether fiction or documentary, that bring out a particular suggestion about tragic of a person, a family or whoever. It’s a film with a trace of experimental tradition.<\/span><\/p>\n

Brice Bowman<\/strong><\/span>, born 1951, is experienced American experimental filmmaker. His works had been exhibited through out United States of America and mainly in various countries of Europe.<\/span><\/em><\/p>\n

–<\/p>\n

\"MEN_FROM_MONTREAL_IN_NOVEMBER_ROBITAILLE_WOLKOW_2015_1\"<\/strong><\/p>\n

Men From Montreal In November <\/strong>(Grigorie Jacob, Marc-Antoine Sinibaldi, Pascal Robitaille, Matthew Wolkow, Canada, 2015, 6mins)<\/h3>\n

Suatu tangkapan konsensual tentang struktur dan jarak pada situasi biner dari eksistensi terbingkai dua subjek. Prinsipnya, orientasi kamera membiarkan tafsir selalu terposisi \u2018observasional\u2019 terhadap detil kehadiran tubuh pada setiap tarikan, helaan, kedipan, sebagai batas rasional kedua potret boleh dipahami. Masing-masing wajah tak sedang mengekstroversi diri tapi menatap ke titik lain di luar frame<\/em>, di luar pemandang. Sejumlah gerak halus subjek serentak merupakan respon permukaan dan internalisasi menggantikan verbalitas dan menuntut renungan tentang kekuatan dasar sekaligus ambiguitas fotografi dan sinema. Tak ada sesuatu di luar bingkai, melainkan segenap tanda yang mengirim dirinya sebagai pesan: apakah persona dalam kepenuhan identifikasinya?<\/p>\n

Pascal Robitaille <\/strong>(1981) adalah pembuat filem eksperimental yang berbasis di Montreal. Karya-karyanya telah dipamerkan di berbagai festival filem internasional dan memenangkan beberapa penghargaan. Filemnya yang berjudul Dogme 41: Lonely Child (2005) adalah filem Kanada pertama yang memiliki sertifikasi Dogme \u201995.<\/em><\/p>\n

Matthew Wolkow <\/strong>telah membuat banyak essei mengenai film sejak 2010. Sebagai sinematografer, ia banyak berkolaborasi dengan berbagai proyek pembuatan filem dokumenter. Karya terbarunya Maintenant tout est possible : Tout va bien terdaftar dalam\u00a0 kompetisi Rendez-Vous du Cin\u00e9ma qu\u00e9becois 2016.<\/em><\/p>\n

A consensual catchment about structures and distance in the binary situation of the framed existence of two subjects. In principle, the orientation of the camera\u2014letting commentators always be being positioned ‘observational’ to the detail of presence of the body on each inhalation, a sigh, flicker, as the rational limit of both portrait\u2014might be understood. Each face is not being extroverting themselves but staring into another point outside the frame, outside of the spectator. A number of subjects’ smooth motion is simultaneously a surface response and internalization, replacing the verbality, and demanding reflections on both basic strength and ambiguity of photography and cinema. There is nothing beyond the frame but every mark that sends itself as a message: what is persona in the fullness of its identification?<\/span><\/p>\n

Pascal Robitaille <\/strong>(b. 1981) is an experimental filmmaker based in Montreal His work has been exhibited widely at international film festivals, and has won numerous awards. His film Dogme 41: Lonely Child (2005) is the first Canadian film to be certified by Dogme ’95.<\/span>
\n<\/strong><\/em><\/p>\n

Matthew\u00a0Wolkow\u00a0<\/strong>has been making essay films since 2010. As a cinematographer, he has also collaborated on various documentary films for friends and colleagues. His latest film, Maintenant tout est possible : Tout va bien (14mins) \u00a0has been part of the 2016 Rendez-Vous du Cin\u00e9ma qu\u00e9becois Competition.<\/span><\/em><\/p>\n

–<\/p>\n

\"A-Society-of-Services\"<\/strong><\/p>\n

Una Societa\u0300 di Servizi (Luca Ferri, Italia, 2015, 30mins)<\/h3>\n

Alur kematraan pada arsitektur suatu ruang, dengan aneka relung dan lorong, lekuk dan ceruk, juga infografis dan sistem otomat internalnya, telah menyusun suatu konfigurasi sosial di lingkup sektoral dan menata perilaku orang-orang di dalamnya. Tapi setiap orang adalah objek dalam pengaturan itu. Perjumpaan antar sesama di situ bersifat non interaksional karena setiap orang adalah bagian dari kawanan migrator temporer dalam layout<\/em> sebuah tempat dari lokasi proyek global. Suatu tangkapan dokumenter yang mengena tentang secuil komunitas zaman kita yang menjelmakan satu puisi indeksikal yang memisalkan ruang publik sebagai ragam unsur geometrik dan mobilitas orang-orang selaku konjungsi grafik transaksional.<\/p>\n

Luca Ferri<\/strong> lahir di Bergamo, Italia, pada tahun 1976. Karyanya telah diputar di berbagai tempat dan terpilih di beberapa festival filem seperti Festival Film Torino. Pada tahun 2012, ia terpilih sebagai peserta lokakarya filem yang diasuh oleh Ben Rivers dan Michelangelo Frammartino.<\/em><\/p>\n

A dimensionality groove on the architecture of a space, with various niches and hallways, curve and nook, as well as infographics and internal automatic systems, has developed a social configuration in the sectoral scope of and organize the behavior of people in it. But every man is the object in that setting. The encounter between the members is non interactional because everyone is part of a temporary migratory flock in the layout of a place of the global project site. A striking documentary catchment on a piece of community of our times who embody an indexical poetry, letting the public space as a variety of geometric elements and movement of people as conjunctions of transactional graphics.<\/span><\/p>\n

Luca Ferri<\/strong> was born in Bergamo, Italy, in 1976. His works are screened and selected in various festivals such Torino Film Festival. In 2012, he was selected to participate in filmmaker workshop held by Ben Rivers, Michelangelo Frammartino.\u2028<\/span><\/em><\/p>\n

–<\/p>\n

\"Break<\/strong><\/p>\n

Break In <\/strong>(Mikel Aristregi & Jose Bautista, Spain, 2015, 25mins)<\/h3>\n

Bidikan kehidupan jalanan di Kamboja menjadi pemantik pencarian seorang anak jalanan. Satu per satu menceritakan ulang pertemuan dan kisah berdasarkan foto-foto 10 tahun yang lampau. Tuturan subjek dalam filem dan metafora dalam tiap gambarnya membuat filem ini jauh dari kesan mengadili kehidupan jalanan Dunia Ketiga yang sekaligus menjadi rumah bagi subjek penceritanya.<\/p>\n

Mikel Aristegi<\/strong> adalah pembuat filem yang berdomisili di Catalonia. Ia telah memenangkan banyak penghargaan untuk karya-karya fotografi maupun filem. Aristegi memiliki latar belakang pendidikan jurnalisme dan juga fotografi.<\/em><\/p>\n

Jos\u00e9 Bautista<\/strong> adalah musisi yang menggabungkan unsur visual dalam karyanya. Ia juga seorang perancang suara, seniman video, dan penyunting multimedia. Ia mendirikan KanseiSounds dan Altamar Films.<\/em><\/p>\n

A shot of street life in Cambodia became a trigger for the search of a street kid. One by one re-telling the stories of the meeting and backstories of 10 years a go The subject narrative in the film and the metaphora in each of the frames make this film far from the impression of judging the street life in Third World Countries that is also the home of its narrative subject.<\/span><\/p>\n

Mikel Aristegi<\/strong> is a filmmaker who live in Catalonia, has won many awards for works of photography and film. Aristegi has the educational background of journalism and photography.<\/span><\/em><\/p>\n

Jos\u00e9 Bautista<\/strong> is a Visual Musician, Sound Designer, Video Artist and Multimedia Editor. He\u2019s also the founder of KanseiSounds and Altamar Films co-founder.<\/span><\/em><\/p>\n

–<\/p>\n

\"Zone-Zero\"<\/strong><\/p>\n

Zone Zero <\/strong>(Farzad Moloudi, Belgium, 2015, 105mins)<\/h3>\n

Ketika beragam individu dengan latar belakang berbeda dipertemukan dalam Proyek Gesu, penggunaan bangunan bekas sekolah Jesuit sebagai rumah bagi pendatang yang gelandangan, warga tanpa rumah, dan tanpa ekonomi mapan, intensitas perebutan ruang tercipta. Proses peleburan identitas, negosiasi dari pertemuan masing-masing nasionalisme yang telah menubuh dan kerelaan untuk menghapus batas negara, ditunjukkan melalui gambar-gambar intim; hasil dari kemampuan kamera yang memasuki ruang privat para penghuni sekaligus mengikuti diskusi untuk menciptakan kesepakatan dan survival yang sama.\u00a0 Meskipun telah bersepakat dan sistem baru terbentuk, tantangan untuk menghadapi sistem dominan lewat aparatusnya menjadi hantu bagi pembentukan kampung komunal global ini.<\/p>\n

Farzad Moloudi<\/strong> (Iran, 1960) adalah pengungsi politik. Tahun 2012, dia lulus dari RITS Film Academy di Brussels. Selama tinggal di G\u00e9su, dia membuat dokumenter pertamanya, Zone Zero.<\/em><\/p>\n

When various individuals with different background are brought together by the Gesu Project, the use of a former Jesuit school building as a home for settler who are homeless, refugee, and without stable economy, an intense of competition for space rises. The process of identity merge, negotiation of each nationalism that have been embodied and the willingness to erase national borders, are shown through intimate images; the results of the camera ability to enter private rooms of the residents and simultaneously following discussions to create consensus and equal survival.\u00a0 Despite having a consensus and an established new system, the challenge to address the dominant system through the apparatus becomes a ghost haunting the formation of this global communal village. <\/span><\/p>\n

Farzad Moloudi<\/strong>, was born in 1960 in Iran, is a political refugee. In 2012, he graduated from the documentary department at the RITS film academy in Brussels. While living in G\u00e9su, he made his first long documentary film, Zone Zero.<\/span><\/em><\/p>\n

–<\/p>\n

\"Mare-Mediterraneum\"<\/strong><\/p>\n

Mare Mediterraneum <\/strong>(Markus Keim & Beate Hecher, Austria, 2016, 10mins)<\/h3>\n

Sisa dari migrasi klandenstin nyatanya tak hanya kisah keberhasilan penyeberangan, tetapi juga objek-objek yang meminta untuk dipanggil kembali (reenactment<\/em>). Lautan menjadi altar, menjadi pengingat, menjadi penanda. Objek temuan, seperti sepatu yang mengambang di lautan dibidik dengan zoom-in<\/em> ekstrem, sepatu instalatif bergelantungan di tepian: tak menyisakan kelegaan.<\/p>\n

Markus Keim<\/strong> lahir di Italia pada tahun 1969. Ia belajar sejarah dan ilmu politik di Universitas Innsbruck dan studi teater ia peroleh di Universitas Bologna. Pada tahun 1999 hingga 2005, Kein adalah seorang aktor dari grup teater mandiri \u2019theatercombinat wien\u2019. Saat ini ia bekerja dan tinggal di Wina.<\/em><\/p>\n

Beate Hecher<\/strong> lahir di Austria pada tahun 1972. Hecher mempelajari seni patung di Akademi Seni Murni, Wina. Kerja berkeseniannya tidak hanya pada seni patung, tapi juga sebagai desainer grafis dan animasi\/filem. Ia tinggal dan bekerja di Wina.<\/em><\/p>\n

The remains of the clandestine migration actually not just the story of a successful crossing, but also objects that requires reenactment. The sea becomes an altar, becomes a reminder, becomes a symbol. Found objects, such as shoes floating in the sea are shot with extreme zoom-in, the installative shoes that hung in the edges: does not leave behind a relieve. <\/span><\/p>\n

Markus Keim<\/strong> was born in Italy in 1969. He studied history and political science at the University Innsbruck and theater studies at the University of Bologna. From 1999 to 2005 he was an actor in the independent theater group “theatercombinat wien”. He lives and works in Vienna.<\/span><\/em><\/p>\n

Beate Hecher<\/strong> was born in Austria in 1972. She studied sculpture at the Academy of Fine Arts in Vienna. In addition to her artistic activity, she works as a motion and graphic designer. She lives and works in Vienna.<\/span><\/em><\/p>\n

–
\n<\/em><\/p>\n

\"Treve\"<\/strong><\/p>\n

Tr\u00eave <\/strong>(Myriam el Hajj, Lebanon, 2016, 67mins)<\/h3>\n

Tr\u00eave adalah filem pasca perang, yang berarti filem ini berusaha mengungkap beberapa fakta dan emosi yang terkandung beberapa tahun setelah perang Libanon. Fokus utama filem ini adalah seorang veteran perang bernama Riad El Hajj. Tr\u00eave tidak memiliki tempo cepat namun sepanjang filem, pengakuan dari Riad dan beberapa veteran lainnya membuat filem ini memacu keingintahuan penonton tentang apa yang terjadi saat perang berlangsung. Pengakuan tersebut sesungguhnya juga memperlihatkan api dendam yang masih tersimpan, dan di konfrontir langsung oleh pembuat filemnya.<\/p>\n

Lahir di Beirut, Lebanon, pada tahun 1983, Myriam el Hajj<\/strong> mempelajari sinema di Lebanon dan mendapatkan gelar Master dalam studi pembuatan filem di Paris. Filem pendek terbarunya, Off War Beirut, diproduksi di Paris dan telah terpilih untuk diputar di berbagai festival. Myriam mengajar studi sinema di Akademi Seni Murni Lebanon.<\/em><\/p>\n

Tr\u00eave is a post-war film, meaning the film attempts to reveal several facts and emotions contained in the years after the Lebanon war. The film main focus is a war veteran named Riad El Hajj. Tr\u00eave does not have a fast tempo but throughout the film, the testimonies of Riad and several other veterans have the film spurring the audience’s curiosity on what happened during the war. The testimonies actually also reveals the buried amber of grudges, and it is directly confronted by the film maker.\u00a0 <\/span><\/p>\n

Born in Beirut, Lebanon in 1983, Myriam el Hajj<\/strong> did her cinema studies in Lebanon and master\u2019s degree in filmmaking in Paris. Her latest short film, Off War Beirut, was produced in France and selected in several festivals. Myriam teaches cinema at the Lebanese academy of fine arts (ALBA).<\/span><\/em><\/p>\n

–<\/p>\n

\"Poem-and-Stone\"<\/strong><\/p>\n

Poem and Stone <\/strong>(Maryam Tafakory, Iran, 2015, 10mins)<\/h3>\n

Sajak dan bait puisi dinapaskan tidak hanya dalam bisikan-bisikan teks dan suara, tetapi juga menggunakan butir-butir pasir yang dibentuk indah menggunakan jari-jemari pemain. Kita melihat pemandangan kota pada akhir September, ketika angin musim dingin mulai berhembus dan tangan-tangan yang dihangatkan oleh api jalanan. Walaupun diiringi dengan visualisasi, pertunjukan, dan bait indah dari puisi Jalaluddin Rumi, namun filem ini bicara banyak tentang problematika kontemporer di Iran.<\/p>\n

Maryam Takafory<\/strong> (lahir di Iran) adalah seorang seniman yang tinggal bekerja di London. Ia menggunakan bahasa-bahasa alegoris, monolog, dan berbagai motif simbolis serta tekstual dalam karya-karya visualnya. Filem-filem Tafakory telah diputar di berbagai festival filem internasional seperti di Rotterdam, Edinburgh, dan Zurich.<\/em><\/p>\n

Poetic rhymes and verses are breathed not only in the whispers of texts and voice, but also through grains of sand beautifully shaped by the fingers of the player. We see city landscape at the end of September, when winter wind begins to blow and hands are kept warm at the fire in the streets. Despite being accompanied by visualization, performances, and beautiful verse from Jalaluddin Rumi’s poem, the film speaks a volume of contemporary problems in Iran. <\/span><\/p>\n

Maryam Tafakory<\/strong> (b. Iran) is an artist living and working in London.She explores allegorical forms of visual narrative, inner monologues and storytelling in her part-documentary work, using abstracted, symbolic and textual motifs and their on-screen representation.Her work is screened internationally including, Rotterdam International Film Festival, Edinburgh International Film Festival.<\/span><\/em><\/p>\n

–<\/p>\n

\"So-Long\"<\/strong><\/p>\n

So Long <\/strong>(Maria Berns, Mexico, 2016, 67mins)<\/h3>\n

Cerita adalah salah satu penampang utama dalam filem naratif. Namun dalam So Long, cerita di distorsikan dengan gambar-gambar bertumpuk, namun saling berkaitan. Distorsi ini, menciptakan efek lain semacam ingatan atau dunia pararel dari kisah sentimentil yang berusaha diucapkan, sehingga penonton akan mengalami beberapa kisah dari karakter filem hanya dari satu frame<\/em> saja.<\/p>\n

Maria Berns<\/strong> adalah seorang penulis dan pembuat filem. Filem-filem pendeknya telah diputar di beberapa festival di Amerika Serikat dan berbagai negara Eropa, seperti Festival Filem Dresden dan Berlin. Ia memenangkan penghargaan bergengsi Kodak Award untuk filemnya yang berjudul The Bride.<\/em><\/p>\n

Story is one of the main surfaces of a narrative film. Yet in So Long, the story is distorted by overlapping yet interrelated images. The distortion created a different effect like memories or a parallel world from the sentimental story that seeked to be told, that the audience will experience several stories of the film character only in a single frame.\u00a0 <\/span><\/p>\n

Maria Berns<\/em><\/strong> is a filmmaker and writer. Her short films have been shown at festivals in the United States and Europe including the Dresden Film Festival and the Berlin Film Festival. Her awards include the prestigious Kodak Award for her film The Bride.<\/em><\/span><\/p>\n

–
\n<\/em><\/p>\n

\"Lullaby-to-a-Sorrowful-Mystery\"<\/strong><\/p>\n

A Lullaby of The Sorrowful Mystery <\/strong>(Lav Diaz, Philippines, 2016, 485mins)<\/h3>\n

Berdasarkan novel El Filibusterismo<\/em>-nya Jose Rizal di akhir abad ke-19, drama sinematik ini termakna sebagai pencarian kembali hakikat negara-bangsa pada situasi pasca nasionalisme, kala gagasan dan konsep berbangsa dari para perintis pemersatu, kenyataannya kini menjelang punah. Mengekspose sekuen-sekuen panjang dalam kanvas lebar-lebar, filem ini membentangkan cakrawala pengembaraan revolusioner tiga sejawat nasionalis-intelektual serta jejak-jejak liberte<\/em>, egalite<\/em>, fraternite<\/em> mereka yang coba digapai juga lewat puisi, seni, dan sinema. Kolonialisme sebagai narasi traumatik tidak merupakan romansa yang surut di negeri-negeri bekas terjajah, dengan Filipina sebagai ranah fantasmagori revolusi lewat figur-figur nasional, bayang-bayang rakyat, pendirian pribadi, manusia, alam, dan kemerdekaan, juga fatalisme dan konsekuensi akan semua itu.<\/p>\n

Lav Diaz<\/strong> adalah sutradara kelahiran Mindanao, Filipina. Telah membuat filem dalam dua puluh tahun terakhir dan memenangkan beberapa penghargaan, seperti dari Venice Film Festifal dan Toronto Film Festival. Film terbarunya, A Lullaby to the Sorrowful Mystery mendapat penghargaan Silver Bear Alfred Bauer Prize, Berlin International Film Festival tahun 2016.<\/em><\/p>\n

Based on the Jose Rizal’s El Filibusterismo in the late 19th century, this cinematic drama is interpreted as retrieval of the nature of the nation-state in the aftermath of nationalism, when the ideas and concepts of the pioneers of unifying the nation, the reality is now approaching extinction. Exposing long sequences within wide canvas, the film stretches the horizon of revolutionary odyssey of three nationalist-intellectuals colleagues as well as the traces of their liberte, egalite and fraternite that were also tried to be reached through poetry, art and cinema. Colonialism as a narrative of the traumatic was not a romance subsiding in the ex-colonized, with the Philippines as the realm of revolution fantasmagorie through figures of national, the shadow of people, the establishment of a personal, human, natural, and independence, as well as fatalism and the consequences of them all.<\/span><\/p>\n

Lav Diaz<\/strong> is a Filipino filmmaker, born in Mindanao. He has been making films in twenty years and won several international awards, among others are from the Venice Film Festival and the Toronto Film Festival. His recent film, A Lullaby to the Sorrowful Mystery got Silver Bear Alfred Bauer Prize from Berlin International Film Festival 2016.<\/span><\/em><\/p>\n

–<\/p>\n

\"Something-Horizontal1\"<\/strong><\/p>\n

Something Horizontal <\/strong>(Blake Williams, Canada, 2015, 10mins)<\/h3>\n

Beberapa sekuen gambar yang membentuk hubungan naratif dan hubungan puitis untuk mengukur sejauh mana hubungan horizontal dari sebuah jukstaposisi image<\/em>. Beberapa adegan filem ini dipandu oleh sebuah permulaan tentang awal hubungan gambar yang liner, namun satu objek, gambar seolah dicacah menjadi banyak sudut bidang dengan sekuen gambar yang dipercepat. Seperti hubungan diakoronik dari struktur bahasa yang di belah secara horizontal, gambar-gambar yang dicacah secara geometri tersebut seakan membeberkan sisi suram dari sebuah ruang. Sampai kemudian sebuah footage dari ekspresionisme Jerman, yang memberikan pengaruh bidang dan ruang, juga memberikan sebuah horor tersendiri dari ungkapan batin manusia.<\/p>\n

Blake William<\/strong> adalah pembuat filem yang berbasis di Toronto. Karya-karyanya telah dipamerkan di Kanada, Amerika Serikat, dan berbagai negara di Eropa dalam banyak festival dan inisiatif. Saat ini ia menempuh pendidikan doktoral untuk studi sinema di Universitas Toronto.<\/em><\/p>\n

Several image sequences forming a narrative and poetic relation to measure the expand of a horizontal conjugation of an image juxtaposition. Several of this film scenes are guided by a start on the beginning of a linear image conjugation, but one object, image seems to tbe chopped into many angles with speed-up image sequence. Liike a diachronic relation of the horizontally divided language structure, the geometrically chopped images seems to reveal the dark side of a space. Until then a footage of German expressionism, that provides an influence of surface and space, also gives a different horror of the human soul expression. <\/span><\/p>\n

Blake William<\/strong> is Toronto-based filmmaker. His works have been screened in Canada, United States of America, and many countries in Europe. Currently he\u2019s pursuing doctoral degree of cinema studies in University of Toronto.<\/span><\/em><\/p>\n

–<\/p>\n

\"L'invention-de-lannee-2016\"<\/strong><\/p>\n

The Invention of the Year 2016 <\/strong>(Jean Seban, France, 2015, 93mins)<\/h3>\n

Sebuah karya yang menggambarkan tentang waktu. Melalui beberapa tokohnya, identifikasi Joycenian terhadap subjek di masa lalu yang tertera di karya-karya seni, bisa diambil alih pada masa kini. Seperti arus kesadaran keserentakan akan jukstaposisi, melalui bidikan-bidikan tentang keseharian bisa direfleksikan sebagai persilangan masa lalu melalui masa kini, atau peristiwa personal di tengah himpitan peristiwa global. Pengaruh Godardian tersebut juga menjadikan teks yang menempel pada image<\/em> di dalam gaya intertitle<\/em>, sepenuhnya menjadi sesuatu yang visual, atau semacam tipografi yang beberapa di antaranya memandu dan mengkonjungsi waktu dari rangkaian image<\/em>, dan beberapa di antara lainnya adalah refleksi atas image.<\/p>\n

Jean Seban<\/strong> adalah pembuat filem Prancis. Karya-karyanya, antara lain Virgile dort, 6 esquisses pour un film (2014). Mengelola situs web beralamat di http:\/\/www.jeanseban.fr\/JS\/Passacaille.html<\/a>.<\/em><\/p>\n

A work depicting time. Through several figures, the Joycenian identification on subjects of the past being inscribed in artworks, can be taken over in the present. Like a stream of consciousness simultaneity on juxtaposition, through daily shots that can be reflected as a cross between the past through the present, or personal event in the mids of global event. The Goddardian influence also turns the text attached to the image in intertitle style, fully becomes something visual, or somekind of typography that among others guide and conjugate time of several images, and along others are the reflection of images. <\/span><\/p>\n

Jean Seban<\/strong> is a French film maker. His works, among others Virgile dort, 6 esquisses pour un movie (2014). He develop a website at http:\/\/www.jeanseban.fr\/JS\/Passacaille.html<\/a>.<\/em> <\/span><\/p>\n

–<\/p>\n

\"Letters<\/strong><\/p>\n

Letters from War <\/strong>(Bruna Carvalho Almeida, Brazil, 2015, 13mins)<\/h3>\n

Sebuah perjalanan atas jukstaposisi memori tentang masa lalu dan yang hadir di masa kini. Melalui image-image<\/em> tentang tempat dan perjalanan di masa lampau, yang diendapkan oleh dua narator dari surat-menyurat dari dua generasi. Sebuah footage tentang gedung terbakar di sebuah kota, seakan menginterupsi dan membangkitkan rasa cemas dari perjalanan monokramatik image<\/em> tentang memori.\u00a0 Karya ini merupakan sebuah pergulatan dan perjuangan yang terus berlanjut dari keterpisahan dan sekaligus penyatuan dua benua, dari sisa-sisa antara memori dari kota yang terkoloni dan perjuangan dari kota yang terbebaskan.<\/p>\n

Bruna Carvalho de Almeida<\/strong> berpengalaman dalam bidang sinema sebagai sutradara, penulis, dan penyunting. Sehubungan dengan pencapaiannya dalam sinematografi dan teater, Bruna bekerja di Lembaga Sinema Cinusp Paulo Emilio, yang dibawahi oleh Universitas Sao Paulo.<\/em><\/p>\n

A journey on memory juxtaposition on the past that is present in today. Through images on place and journey in the past, deposited by two narrators of correspondences between two generations. A footage of a burning building in a city, seems to interrupt and stirs anxiety of the monochromatic image journey on memory.\u00a0 This work is an ongoing struggle and fight from separation and unification of two continents, and the residues between memories of a colonized city and fights of the liberated city.\u00a0 <\/span><\/p>\n

Bruna<\/strong>\u00a0<\/strong>Carvalho<\/strong>\u00a0<\/strong>de Almeida<\/strong> works with cinema as director, writer and editor. In parallel with her cinematographic and theatrical achievements,\u00a0Bruna\u00a0worked in Production and Cultural Programming at Cinusp Paulo Em\u00edlio, the cinema of USP.<\/span><\/em><\/p>\n

–<\/em><\/p>\n

\"168322\"<\/strong><\/p>\n

Subtitles: to Know without Learning <\/strong>(Manuel Saiz, Spain, 2016, 6mins)<\/h3>\n

Sebuah performance<\/em> yang merefleksikan keberadaan subtitle <\/em>yang seakan menjadi sebuah protagonis di dalam karya. Subtitle<\/em> sering kali menjadi pemandu sebuah image<\/em>. Melalui sebuah sekuen subtitle<\/em> secara handmade <\/em>yang tertera pada sebuah gulungan kertas, sang performer<\/em> membuka gulungan kertas subtitle<\/em> dari translasi bahasa lain dari ucapannya, menjadikan subtitle<\/em> tersebut menjadi bagian image<\/em> itu sendiri. Karya performance<\/em> ini seakan ingin menunjukkan tentang kesulitan untuk mendapatkan makna yang komprehensif dari keberadaan subtitle<\/em>, apakah ia akan menjadi apa yang dikatakan, atau menjadi apa yang direpresentasikan, ataukah ia equivalent<\/em> dengan dialog. Refleksi tentang subtitle<\/em> ini, merupakan usaha penyingkapan hubungan antara bahasa, image<\/em>, dan kata yang terucap dan kata yang tertulis.<\/p>\n

Manuel Saiz<\/strong> mulai berkarya sebagai seniman tahun 1980 di Spanyol, membuat lukisan, patung, fotografi dan karya instalasi. Sejak itu dia sering berpameran di galeri komersial. Pernah berpartisipasi di Sao Paulo Biennale (1989) dan Artificial Nature, Deste Foundation, Athena (1990).<\/em><\/p>\n

A performance that reflects the existence of subtitle that seems to be a protagonists in a work. Subtitle is often a guidance of an image. Through handmade subtitle sequence on a roll of paper, the performer unrolled the subtitle paper of a different language translation from his words, making the subtitle a part of the image itself. This performance work seems to wish to demonstrate the difficulties to gain a comprehensive meaning from the subtitle existence, is it going to become what is said, or become what is represented, or is it equivalent to a dialogue. This reflection on subtitle is an attempt to reveal the conjugation between language, image, and spoken and written words. <\/span><\/p>\n

Manuel Saiz<\/strong> started working as an artist in the 1980\u2019s in Spain, creating paintings, sculptures, photography and installations. He shows regularly since then in public and commercial galleries worldwide.\u00a0 In 1989 he showed a group of installations at the Sao Paulo Biennale and in 1990 he took part in Artificial Nature curated by Jeffrey Deitch at the Deste Foundation in Athens.\u00a0<\/span><\/em><\/p>\n

–
\n<\/em><\/p>\n

\"The<\/strong><\/h3>\n

La Curiosa Vida de Piter Eustaquaio Rengifo Uculmana <\/strong>(Gianfranco Annichini, Peru, 2014, 72mins)<\/h3>\n

Filem ini dengan teliti mengungkap siapakah sosok yang menjadi penyelamat dalam kehidupan komunal di tempat yang sangat terpencil di Peru di tengah kesulitan ekonomi yang mereka alami. Wawancara dari tiap penduduk menyibak perlahan-lahan sosok tersebut. Ingatan-ingatan kolektif tersebut bersatu dengan lanskap alam yang berganti dari dari padang stepa hingga kota kecil di tepian sungai. La Curiosa Vida de Piter Euquaio mengajak penonton untuk tidak hanya melihat sisi gelap dari kehidupan keras orang-orang yang tinggal di sana, namun juga sisi terang dari keseharian mereka.<\/p>\n

Gianfranco Annichini<\/strong> lahir di Novara, Italia pada tahun 1939. Ia menamatkan pendidikan dari Ecole de Beaux Arts di Lausanne. Tahun 1981, Annichini mulai memproduksi filem-filem dokumenternya, seperti Maria of the Desert, Radio Bethlehem, dan A Bride in New York. Karya-karya tersebut banyak memenangkan penghargaan.<\/em><\/p>\n

This film carefully reveals the figure who saved the communal life in the remote location in Peru, in the midst of economy hardship they endure. Interviews of each resident slowly reveals the figure. The collective memories are merging with the natural landscape that shifts from the steppes to the small riverside town. La Curiosa Vida de Piter Euquaio takes the audience to not only see the dark side of life of the residents, but also the bright side of their daily lives.
\n<\/strong><\/span><\/p>\n

Gianfranco Annichini<\/strong> was born in Novara, Italy, in 1939. He graduated from the Ecole de Beaux Arts in Lausanne. From 1981 begins to direct their own documentaries among which “Maria of the Desert” (1981), “Radio Bethlehem” (Oberhausen Festival Prize, 1983) and “A bride in New York” (Special mention, Oberhausen, 1987).<\/span><\/em><\/p>\n

–<\/p>\n

\"World-Cup\"<\/strong><\/p>\n

World Cup <\/strong>(Mohamad & Ahmad Malas, France, 2016, 68mins)<\/h3>\n

Saat Piala Dunia 2014 dilaksanakan di Brasil, ribuan juta juta manusia merayakan pagelaran olahraga terbesar di dunia ini, baik dengan datang ke stadium dan mendukung tim pujaan, atau dengan bermalam di depan televisi.\u00a0 Pada saat yang sama di Suriah, tempat di mana perang saudara sedang berkecamuk juga merayakan pagelaran empat tahunan, dengan cara yang berbeda. Filem ini dengan jenaka menghubungkan perang dengan segala sesuatu yang berhubungan dengan sepakbola, baik itu permainannya maupun organisasinya dan menggunakan bahasa satir untuk mengolok kecenderungan penduduk dunia yang lebih peduli pertandingan sepak bola ketimbang kemanusiaan.<\/p>\n

Mohammad<\/strong> dan Ahmad Malas<\/strong> merupakan saudara kembar kelahiran Syria. Pengalaman mereka di bidang sinema tidak hanya sebagai pembuat filem, tapi juga aktor dan penulis cerita di berbagai filem dan televisi. Semenjak 2011, Malas bersaudara secara konsisten mendokumentasikan dan membuat filem bertemakan revolusi Syria, lalu mengunggahnya di YouTube.<\/em><\/p>\n

When World Cup 2014 was held in Brazil, thousands and millions of people celebreated the world’s biggest sport event, whether by coming to the stadium and supported their favorite team, or by spending the night in front of television.\u00a0 At the same time in Syria, where civil war was ravaging, the quadrennial celebration was held differently. This film humourously connects the war with anything soccer, whether it is the game or organization and uses satir to mock the tendencies of the global society who cares more about soccer games rather than humanity.<\/span><\/p>\n

Mohammad<\/strong> dan Ahmad Malas<\/strong> are Syrian twins currently living in France. Their experience in cinema isn\u2019t merely filmmaking, but also acting and script writing for films and television series. Since 2011, Malas twins consistently document and make films on Syrian revolution, of which are uploaded to YouTube.<\/span><\/em><\/p>\n

–<\/em><\/p>\n

\"Postcards-to-Godzilla\"<\/strong><\/p>\n

Postcards to Godzilla <\/strong>(Louis Fried, Germany, 2015, 6mins)<\/h3>\n

Intensi dan tonalitas suara di filem ini mentransmisi citra-citra kelabu dari pergerakan monoton pada kegiatan sebuah pelabuhan, ke dalam bayang muram dan pesimistik. Instalasi katrol-katrol yang terkontraskan terhadap latar seolah tentakel-tentakel raksasa terancam langit dan cuaca, lalu takluk di ambang residu kesibukan siang hari: malam membikin situasi cepat senyap dan pergerakan melamban hingga sama-sekali terhenti. Suasana jadi sepenuhnya melankoli. Sesuatu seperti akan terjadi, sekarang atau nanti, atau pernah suatu ketika di suatu tempat, di suatu keadaan. Koreogarfi visual artefak-artefak mesin transportasi mengubah fenomena operasional suatu sistem menjadi satu sonata musikal antara suara, citra, dan gerak.<\/p>\n

Berdomisili di Hamburg, Louis Fried<\/strong> adalah seorang videografer dan pembuat filem yang memenangkan beberapa penghargaan di beberapa festival. Filemnya yang berjudul Postcard to Godzilla memenangkan penghargaan Mikropolis untuk filem indie terbaik dalam ajang Festival Mikro untuk Film Pendek Amatir dan Indie di Belgrade pada tahun 2015.<\/em><\/p>\n

The intention and tonality of the sound in this film transmit the gray images of monotonous movement of the activities of a port, into the shadow of grim and pessimistic. The installation of pulleys were contrast against the background like the giant tentacles that were threatened by the sky and the weather, then subdued on the verge of residues of bustle during the day: the night made the situation fast to be silent and all of the movement went slowly to becalmed at all. The ambiance became so fully melancholia. Something like this would happen, now or later, or once upon a time in a certain place, in a certain situation. Visual choreography of transportation machine artifacts transformed the operational phenomenon of a system into a musical sonata between sound, image and movement.<\/span><\/p>\n

Louis Fried<\/strong> is a Hamburg-based videographer and filmmaker. His film, Postcard to Godzilla won \u201cMikropolis award for the best indie short film\u201d at the 6th Mikro Festival Amateur and Indie Short Films Belgrade in 2015. Fried\u2019s works have been screened in South Korea, Australia, and mainly in Europe.<\/span><\/em><\/p>\n

–<\/p>\n

\"karst\"<\/strong><\/p>\n

Karst <\/strong>(Vladimir Todorovic, Serbia, 2015, 80mins)<\/h3>\n

Kesibukan sebuah proyek arsitektur membangun rumah dari batu perbukitan di sebuah dusun di Montenegro\u2014bekas bagian Yugoslavia\u2014yang memperlihatkan tradisi komunal pedesaan. Dalam suasana itu, setiap orang saling menjumpai kehangatan, keakraban, dan keramahan pertemuan dengan tetangga, teman-teman, dan lingkungan tempat tinggal manusia: lanskap perbukitan batu, budaya setempat, kehidupan yang lebih awal hingga seni modern. Sebuah filem dengan penggarapan yang halus dan berhati-hati dalam menyampaikan nuansa sehari-hari dari hubungan antarmanusia dan masa lalu sejarah melalui pendekatan personal yang cukup berjarak, yang terungkap dalam warna-warna yang tenang dan penuturan yang tak emosional namun seiring detil visualitas dan naratif yang mengesan.<\/p>\n

Vladimir Todorovic<\/strong>\u00a0adalah pembuat filem, seniman media baru, dan pendidik asal Serbia. Saat ini ia bekerja sebagai asisten dosen di Sekolan Seni, Desain dan Media Universitas Teknologi Nanyang di Singapura. Ia membantu mendirikan Institute for Flexible Culture dan forum kolektif seni media baru bernama Syntfarm di Singapura.<\/em><\/p>\n

A bustle of architectural project in building a house of hill stone in a hamlet of Montenegro, former state of Yugoslavia, showing the rural communal tradition. In that atmosphere, everyone met in each other a warmth, familiarity, and friendliness of meeting with neighbors, friends, and human living environment: from landscape of rocky hills, local culture, early life, until modern art. It’s a film with a delicate cultivation and careful in conveying the nuances of everyday human relationships and past history through a personalized approach which is quite within, expressed in calm colors and unemotional words but as details of visuality and an impressive narrative.<\/span><\/p>\n

Vladimir Todorovic<\/strong>\u00a0is a Serbian filmmaker, new media artist and educator. He is currently an Assistant Professor at the School of Art, Design and Media, Nanyang Technological University, Singapore. He is the co-founder of a new media art collective\u00a0Syntfarm\u00a0in Singapore and the Institute for Flexible Cultures.<\/span><\/em><\/p>\n

–<\/p>\n

\"Aracati\"<\/strong><\/p>\n

Aracati <\/strong>(Aline Portugal & Julia de Simone, Brazil, 2015, 62mins)<\/h3>\n

Di Aracati, Lembah Aguaribe, timur laut Brasil, warga setempat yang tetap bertahan tinggal punya kisah tentang angin, tapi juga memori akan perkampungan mereka yang sudah lebih tiga dasawarsa merupakan lanskap-lanskap mengapung. Warga percaya, angin adalah kekuatan mistis yang memprediksi alam, dan perubahan ekosistem pada kawasan yang tenggelam oleh bendungan itu membuat mereka menjalin bentuk hubungan yang berbeda dengan tata ruang pada lingkungan baru yang, di sana-sini masih membekaskan kenyataan lama dari benda-benda kota dan menyisakan beberapa milik pribadi yang ditinggalkan.<\/p>\n

Aline Portugal<\/strong>\u00a0<\/strong>merupakan seorang sutradara, penulis naskah, dan mitra dari Mirada Filmes. Film fitur pertamanya, Aracati, memenangkang penghargaan BAL, Lab og Work in Progress (BAFICI 2015). Saat ini ia menjabat sebagai koordinator kelas penulisan naskah di Akademi Filem Internasional.<\/em><\/p>\n

Julia De Simone<\/strong>\u00a0adalah seorang pembuat filem dan mitra Mirada Filmes. Saat ini ia mengembangkan filem feature fiksi pertamanya berjudul Royal Court yang didukung oleh Yayasan Hubert Bals untuk pembuatan naskah dan proyek.<\/em><\/p>\n

In Aracati, valley of Jaguaribe, northeast of Brazil, local residents who remain live has a story about the wind, but also the memory of their village that has been a kind of floating landscapes for more than three decades. The residents believe that the wind is the mystical power to predict natural, and the changing ecosystem in the region drowned by dams push them to establish a different form of relationship with the layout of the new environment, which here and there still remains the old facts of the objects of the city and leaving some abandoned personal property.
\n<\/strong><\/span><\/p>\n

Aline Portugal<\/strong>\u00a0<\/strong>is director, scriptwriter and partner at Mirada Filmes. Aracati, her first feature film, was awarded in BAL, Lab of Work in Progress (BAFICI 2015). She is coordinator of the Screenwriting Course from International Film Academy.<\/span><\/em><\/p>\n

Julia De Simone<\/strong>\u00a0is a filmmaker and partner of Mirada Filmes. She is now developing her first fiction feature\u00a0Royal Court, supported by Hubert Bals Fund for script and project development.<\/span><\/em><\/p>\n

–<\/p>\n

\"MY_TALK_WITH_FLORENCE_Pressefotos\"<\/strong><\/p>\n

My Talk with Florence <\/strong>(Paul Poet, Austria, 2015, 128mins)<\/h3>\n

Sebuah karya tentang 50 tahun kehidupan Florence Burnier-Baeur. Melalui sejarah oral, menjadi semacam direct cinema<\/em> untuk merekam penuh partisipasi dan interaksi langsung sang subjek dalam observasi dirinya sendiri terhadap masa lalunya yang kelam. Ekspresi diri, kecemasan, memori, harapan, seakan menyatu sebagai bagian dari sejarah itu sendiri. Perpindahan monolog, testimoni, ekspresi dan performance<\/em> memegang boneka yang penuh luka menjadi pernyataan dan eksistensi sang tokoh; di dalamnya terdapat sebuah adegan membalikan latar pas foto di belakang subjek, seakan menjadi misteri dan interupsi dari proses observasi diri. Tema seniman Ottu M\u00fchl menjadi jangkar tentang kehidupan bohemian Florence; pada tema itu kecemasan (angst<\/em>) menjadi satu-satunya akses terhadap peristiwa di masa lalu yang \u2018gamang\u2019.<\/p>\n

Paul Poet<\/strong> (Abqaiq, 1971) adalah sutradara, jurnalis, pengarang, dan peneliti media. Mulai membuat filem di tahun 1996 dan sejak itu memproduksi sejumlah video musik dan program TV. Tahun 1999 mendapat penghargaan Best Director Award di Duel Videoclip, Fauenza, Italia, untuk TripHopping in the Planet Drug. Salah satu filemnya yang terkenal adalah Ausl\u00e4nder raus! Schlingensiefs Container (2002).<\/em><\/p>\n

A work on Florence Burnier-Baeur 50 years of life. Through oral history, it is a kind of direct cinema to record the subject in full participation and direct interaction on self observation of the their own dark past. Self expression, anxiety, memory, hopes, seems to merge as a part of the history itself. The sequence of monologue, testimony, expression and performance holds a puppet full of wounds into queries and existence of the figure; within it there’s a scene turning the background of a passport photo behind the subject, making it seems a mystery and interrupting the process of self observation. The theme of artist Ottu M\u00fchl becomes an anchor to the Florence bohemian life; on the theme (angst) becomes the only access to the ‘hesitant’ event in the past. <\/span><\/p>\n

Paul Poet<\/strong> (Abqaiq, 1971) is director, journalist, writer, and media researcher. His filmmaking starts in 1996 and ever since has produced music video and television programs. In 1999, Poet received Best Director Award in Duel Videoclip, Fauenza, Italy, for his work \u201cTriphopping in the Planet Drug\u2019. One of his signature works is Ausl\u00e4nder raus! Schlingensiefs Container (2002).<\/span><\/em>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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