Programa de vídeo — Auditório

PROGRAM 1

  Running time 1h15’50”
Oct 4, at 1:00 p.m., 3:00 p.m., 5:00 p.m., 7:00 p.m.,
and 9:00 p.m.; Oct 8, at 10:00 a.m.
As of Oct 10: Tuesdays through Saturdays, at 12:00 p.m.;
Sundays, at 10:00 a.m.
Seydou Cissé (Mali, 1981)
Faraw ka taama, 2012, 11’
Commanded by a boy’s whip, stones pile up on Markala Bridge, erected with forced labor and at the cost of many lives during French colonial rule in Mali. Using animation techniques to portray animism, the film blends legend and history and pays homage to the victims of the enterprise. Mali’s magical past reemerges as a dignified stance in the face of the tragedy and as a creative force capable of moving minerals.
Quy Minh Truong (Vietnam, 1990)
Vuon Bau Xanh Tuoi, 2016, 15’
Tran Xuan Ve is an old farmer who works with his wife on a plantation full of butterflies. Sitting in his pleasant country house, he recalls the carnage he witnessed as a young soldier in the Cambodian-Vietnamese War: a common one-kilometer-long ditch with indistinct bodies being devoured by swamp vermin. The green freshness of the fruit we see is blended with the viscous rot of the corpses in the narrated memory.
Mona Vatamanu (Romania, 1968) and Florin Tudor (Switzerland, 1974)
Copacul lui Gagarin, 2016, 22’50”
The Romanian philosopher Ovidiu Tichindeleanu visits what is left of the Gagarin Youth Center in Moldova. He encounters ruins of unrealized futures: promises of space travel blended with socialist utopia and colonized by liberal postcommunist thought and by time, which breaks glass, corrodes walls, allows plants to grow in cracks.
Sasha Litvintseva (Russia, 1989)
Evergreen, 2014, 27’
Footage of a lost world (ours) is the backdrop to the voice-over by an immortal traveler. In undefined space and time, buildings, people, and plants resemble the debris of an unknown history. In the pursuit of civilizational enhancement, heritage, spectacle, and nature are blurred, permeated by the unavoidable technical reproducibility of the image.

PROGRAM 2

  Running time 1h06’20”
Oct 5, at 1:00 p.m., 3:00 p.m., 5:00 p.m., 7:00 p.m.,
and 9:00 p.m.; Oct 8, at 12:00 p.m.
As of Oct 10: Tuesdays through Saturdays, at 2:00 p.m.;
Sundays, at 12:00 p.m.
Kavich Neang (Camboja, 1987)
Kong Bei, 2015, 20’20”
A seamstress and a motorcycle taxi driver have shared an ordinary and predictable life for forty years. One night, when driving a female passenger, he recalls a dancer he once loved and lost when the Khmer Rouge came to power in 1975. The encounter reveals the mute realities that intertwine people’s lives and political history.
Haig Aivazian (Lebanon, 1980)
Not Every Day Is Spring, 2016, 46’
Musical shows in Istanbul punctuate the film like a melody that runs through the fragmented stories of Turkey. The life and music of Udi Hrant Kenkulian have become a symbol of the violence committed against the Armenian population, such as the decision to set up the state radio station, a key element in the formation of modern Turkish nationality, in a building erected with stones from an Armenian cemetery.

PROGRAM 3

  Running time 1h02’41”
Oct 6, at 1:00 p.m., 3:00 p.m., 5:00 p.m., 7:00 p.m.,
and 9:00 p.m.; Oct 8, at 2:00 p.m.
As of Oct 10: Tuesdays through Saturdays, at 4:00 p.m.;
Sundays, at 2:00 p.m.
Ana Vaz (Brazil, 1986)
Amérika: Bahía de las Flechas, 2016, 8’46”
This video revisits Lake Enriquillo in present-day Dominican Republic, where Christopher Columbus landed in 1492 and confronted the native Taíno people to establish the first European settlement in America. Using the camera as an extension of her own body, the artist evokes the cultural and ecological changes undergone by the land to make history emerge from the actual setting.
Andrés Padilla Domene (Mexico, 1986)
Ciudad Maya, 2016, 24’
Exploring the limits between science fiction and documentary, the video features young explorers manipulating strange technological devices to investigate the ruins of an archaeological site in the Mexican city of Mérida. The site turns out to be a modern replica of ancient Mayan buildings. The work challenges prejudices and clichés associated with the extinct indigenous people.
Jiwon Choi (South Korea, 1991)
Parallel, 2017, 29’55”
This frantic assembly combines elements of South Korean life—K-Pop, marching armies, talk shows, the first female president, the supreme leader, Samsung, Gangnam style—and silences. The artist’s grandfather narrates his escape from North to South, when the armies crossed the parallel that has divided the territory since the end of World War II. A portrait of conflicts between realities and ideologies.

PROGRAM 4

  Running time 1h15’
Oct 7, at 12:00 p.m. and 4:00 p.m.; Oct 8, at 4:00 p.m.
As of Oct 10: Tuesdays through Saturdays, at 6:00 p.m.;
Sundays, at 4:00 p.m.
Roy Dib (Lebanon, 1983)
Beit El Baher, 2016, 75’
In a house designed by a renowned Iraqi architect from the 1960s, a dinner party brings together four people confronting complicated themes and relationships. Financial comfort contrasts with existential discomfort, while the architectural attempt to blend modernism and Islamic traditions reflects the intellectual and emotional issues of a generation of Arabs trapped between ideological ruins, fears, and desires.

PROGRAM 5

  Running time 1h15’
Oct 7, at 2:00 p.m. and 6:00 p.m.; Oct 8, at 6:00 p.m.
As of Oct 10: Tuesdays through Saturdays, at 8:00 p.m.;
Sundays, at 6:00 p.m.
Natasha Mendonca (India, 1978)
Ajeeb Aashiq, 2016, 75’
In India, the daily life of a cis woman and a trans man is traversed by gender relations. Both seek love and freedom in a culture of violence and misogyny. Alternating drama and poetry, the film creates a transfeminist manifesto, a commentary on the geopolitics and culture of Mumbai, an imaginative exercise on new ways of life.
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