After Où est la guerre (TFF33), Carmit Harash continues his Parisian forays in search of impossible answers to the crisis of European democracy, “under attack.” The result, a musical documentary about secularism, equality and freedom after the January 2015 attacks in France.
“And ever since she let go of the past, she found her life was beginning.” This quote from Orlando by Virginia Woolf summarizes the spirit of a film made over the course of twelve years spent wandering the world. A story that starts in Israel, with reflections on politics and religion, and then transforms itself into a story about the interior struggle of Nitzan, a 20-year-old girl who felt like a boy.
“What does it matter what a film is about, its theme, its plot? It’s about love, the sun, the trees, a beautiful woman, summer, a picnic on the grass.”(Jonas Mekas). This film is made of comments and notes about the beauty of lost moments, an observation of identity in constant transformation.
The daily life of the refugees at the Idomeni refugee camp. People waiting in line for food, tea, doctors. And above all, waiting to cross the border between Greece and Macedonia. But one day, Europe closes the border for good. And the “residents” of Idomeni decide, in turn, to occupy the train tracks, blocking the trains which transport goods across that border.
On September 14, 2012 at 2:56 p.m., the cruise ship Adventure of the Seas alerts the Spanish sea rescue center that it has sighted an inflatable raft adrift with thirteen people onboard. A YouTube video and biographical stories contribute to a reflection on the past, present and future of travelers crossing the Mediterranean. An endless horizon composed of water and sky, fears and dreams.
Denis Lavant portrays a mythological figure, the centaur Chiron, as he leads the director on a journey back in time in search of her origins. Between dreaming and wakefulness, the woman, of Turkish origin, finds her memories again. On this journey, space and time are fragmented, as are the images which feed memory. A personal, intimate film, traversed by Turkey’s collective history.
Al Midan is a neighborhood in Aleppo, a border city which welcomed the Armenians a century ago and today is a refuge for many Syrians. From the balcony of his home and using a small video camera, the director records the transformations of that place and of his family. These images combine with film clips which outline the parallels between the Armenian genocide and the daily reality of Syrians.
A woman decides to film her nanny, who lived and worked in their family home in La Paz for over forty years. She follows her during her domestic routine, but also outside, in the countryside and in her own home. By slowly exploring the space between the two women, the movie camera draws the outlines of an emblematic reality of Bolivian society and of a great love, becoming cinema.
Walls, fences and alleys are the borderlines of our cities and also represent the favorite haunts of the rats which settle there as though they were homes. Through the pretext of mice and their alternating vicissitudes with people – who sometimes love them, sometimes welcome them and often kill them - Rat Film tells the story of Baltimore, a city which has starred in many narrations.
The black sun has crystallized the last generations of the director’s family. Aunt Antonia, her mother’s sister, is an opera singer who is admitted to hospital after attempting suicide. A choir of women recount the suffering, the guilty feelings and the difficult family relations, and the feelings are distilled into a story which becomes music, self-portrait, reality and fiction.