Bani Khoshnoudi

El Chinero is a rugged hill in the desert, 140 km south of Mexicali in the Baja California region of Mexico. Nobody knows since when it bears its name, but everyone has heard of a tragic episode that took place here in 1916… Or were there many such episodes ? A few years after the Mexican Revolution of 1910, a massive exodus took place within the country, as deportations and violence targeted Chinese and Asian migrants who had settled in Mexico for many decades. Despite a lack of documentation about the site, it is thought that many people died here while crossing the desert from mainland Mexico. Myth and identity, reality and fiction, ghosts and memory. El Chinero can in some way be seen as a monument to the memory of these forgotten, anonymous people while not officially being one. A site of tragedy with no traces nor remnants to be seen. How can one fill this memory void with images and artifacts in an attempt to construct an archive where none exists ?

A Zapotec man from the future tells the story of how in the 21st century a new invasion of “foreigners” was afflicting his village. While people in Europe were suffering a crisis that made them lose memory and a sense of their culture, a group of youth in his village in Oaxaca was trying to document their own culture by making a film during Carnival rituals. While the youth are pushed to invite a director from the city to come help them, ultimately changing their project to be a remake of Ingmar Bergman’s THE SILENCE, a Swedish woman comes exploring in search of magical lizards that could be the next remedy for memory crisis back home. Characters mix and stories blend into each other in this absurdist and melancholic lo-fi/sci-fi story narrated as oral history with multiple voices.

Ramin es un joven gay de 30 años. Huyó de la persecución en Irán, y después de viajar clandestinamente en un barco desde Turquía llegó a la ciudad portuaria tropical de Veracruz, México. Allí está viviendo en el limbo del exilio, lejos de todo lo que sabe. Su nostalgia y melancolía se confrontan con nuevas amistades, mientras comienza a redescubrir sus propios deseos.

Ramin es un joven gay de 30 años. Huyó de la persecución en Irán, y después de viajar clandestinamente en un barco desde Turquía llegó a la ciudad portuaria tropical de Veracruz, México. Allí está viviendo en el limbo del exilio, lejos de todo lo que sabe. Su nostalgia y melancolía se confrontan con nuevas amistades, mientras comienza a redescubrir sus propios deseos.

Ramin es un joven gay de 30 años. Huyó de la persecución en Irán, y después de viajar clandestinamente en un barco desde Turquía llegó a la ciudad portuaria tropical de Veracruz, México. Allí está viviendo en el limbo del exilio, lejos de todo lo que sabe. Su nostalgia y melancolía se confrontan con nuevas amistades, mientras comienza a redescubrir sus propios deseos.

This video in two screens (for a projection or an installation) proposes a reflection on the place of immigrant workers in modern society, as well as an observation of the foundations of our cities and our cemeteries.

Ziba is an upper-class housewife in today's modern Tehran. Unable to relate to her environment or to her alienating life, she lives within her repetition unable to express to those around her what is wrong. But one long summer day, Ziba finds herself in an unexpected situaiton in the company of people unknown to her, confronted with her own choices and indecisions. Not a character portrait per se, this film works as a visceral metaphor of the general state of oppression and silence in Iran today.

Filmed on Super-8 during a demonstration of Kurds in Paris, Cem joins the idea of ​​a collective body. The "cem" or "jam" in Persian and Kurdish means being together, united; the term also refers to Sufi gatherings, always manifested through dance.

Working with archival images from a key historic moment—the Iranian Revolution—the image-based study explores notions of duration (cinematic and historical), memory (virtual and image-based), and their sensory and emotional (affective) impact as historical and potentially ‘revolutionary’ themes. Repetition is explored as a principle of memory, as an aesthetic device, a space to inscribe meaning. Repetition is also explored as historical mimesis, as an eternal return, and as a possibility for reinvention. Finally, repetition is a means to question the role of agency in human nature. This image-based study is a work in progress and is carried out incrementally, whenever the need arises to examine, excavate and repeat the memory.

The Silent Majority Speaks collects images from several different cameras secretly recording the protests in the wake of the fraudulent June 2009 Iranian presidential elections. Clandestinely made and signed by the “Silent Collective,” the film mixes of-the-moment footage of the rise of Iran’s Green Movement with glimpses of revolutions long since suppressed and snippets of narration that recall a century of turbulence.

Almost thirty years after the revolution, and twenty since the end of the long Iran-Iraq war, A People in the Shadows takes us on a voyage into the heart of Tehran, a megalopolis of 14 million people. The city is still recovering from its past, as talk of sanctions and a possible American attack resonate. Using direct cinema methods, the film takes an intimate look at the way people live in this immense city today, caught up in the paradoxes and contradictions of their society, surrounded by images of past and future death, yet finding ways to juggle state propaganda and foreign threat on a daily basis.

On the road to England, Arya, a young Afghan boy, crosses Europe's borders with other exiles. Near Italy he is separated from the group and sent by smugglers towards Paris. In Paris, in a small "transit" room, Arya meets Khorshid, a young girl who has lost her family on the road and who now lives victim to the desires of the smugglers.