Writer
45th Parallel focuses on the Haskell Free Library and Opera House—a unique municipal site between the jurisdictions of Canada and the United States. Constructed in 1904 under the patronage of the local Haskell family, this building was deliberately designed to straddle the frontier between Canada and the US as a symbolic act of unity in the transnational town of Stanstead. The performance about one border conflict is set on the site of a grey legal area and looks at how each border implicates the other, and how borders are not lines but, rather, richly layered spaces.
Director
45th Parallel focuses on the Haskell Free Library and Opera House—a unique municipal site between the jurisdictions of Canada and the United States. Constructed in 1904 under the patronage of the local Haskell family, this building was deliberately designed to straddle the frontier between Canada and the US as a symbolic act of unity in the transnational town of Stanstead. The performance about one border conflict is set on the site of a grey legal area and looks at how each border implicates the other, and how borders are not lines but, rather, richly layered spaces.
Editor
Considering himself a reincarnation of a dead soldier, historian Bassel Abi Chahine has the remarkable ability to recall details from the Lebanese civil war, which mostly took place before his lifetime. Standing in front of the projected photographs from his personal collection, Abi Chahine embodies the suppressed trauma hidden to his generation.
Director
Considering himself a reincarnation of a dead soldier, historian Bassel Abi Chahine has the remarkable ability to recall details from the Lebanese civil war, which mostly took place before his lifetime. Standing in front of the projected photographs from his personal collection, Abi Chahine embodies the suppressed trauma hidden to his generation.
Director
Lawrence Abu Hamdan finds in a former GDR state radio station a perfect conduit for his ongoing cinematic interrogation of the political dimensions of sound. Centered on a series of court cases that used auditory or sensory evidence based on information gathered through walls, the film is staged within two soundproof booths, in which a live narrator recites witness testimonies while projected text and images create organic superimpositions. It’s an exploration of the fundamental abstractions of seeing and listening.
Screenplay
In the last four decades, many people have come from Iraq as refugees. In 1991, a division was created between northern Iraq (Kurdistan) and the rest of Iraq. The UN considers Kurdistan a safe zone. As a refugee you have to come from the unsafe zone, or at least prove that you do, in order to qualify to be granted asylum. During the interview for refugee status, an official checks to see whether you really come from the unsafe zone. They ask about small details of the city you claim to come from, and compare your answers to a map to confirm that your answers correspond to it. If you cannot prove that you come from the unsafe zone, you are sent back to your country. This is a story about someone who we can call M. M tried to apply for asylum in one of the Schengen countries. He was not aware that the city he came from was in the safe zone, according to the UN. He was rejected, and was set to be deported back to his country. Then he meets J, a man from the unsafe zone.
Sound Designer
May 2014: two unarmed Palestinian teens are killed by Israeli soldiers on the West Bank. Abu Hamdan made an audio analysis to ascertain whether rubber or live bullets were used. The film centres on the gunfire, yet no shots are heard. "Rubber Coated Steel" does not preside over the voices of the victims but seeks to amplify their silence, questioning the ways in which rights are being heard today.
Director of Photography
May 2014: two unarmed Palestinian teens are killed by Israeli soldiers on the West Bank. Abu Hamdan made an audio analysis to ascertain whether rubber or live bullets were used. The film centres on the gunfire, yet no shots are heard. "Rubber Coated Steel" does not preside over the voices of the victims but seeks to amplify their silence, questioning the ways in which rights are being heard today.
Editor
May 2014: two unarmed Palestinian teens are killed by Israeli soldiers on the West Bank. Abu Hamdan made an audio analysis to ascertain whether rubber or live bullets were used. The film centres on the gunfire, yet no shots are heard. "Rubber Coated Steel" does not preside over the voices of the victims but seeks to amplify their silence, questioning the ways in which rights are being heard today.
Writer
May 2014: two unarmed Palestinian teens are killed by Israeli soldiers on the West Bank. Abu Hamdan made an audio analysis to ascertain whether rubber or live bullets were used. The film centres on the gunfire, yet no shots are heard. "Rubber Coated Steel" does not preside over the voices of the victims but seeks to amplify their silence, questioning the ways in which rights are being heard today.
Director
May 2014: two unarmed Palestinian teens are killed by Israeli soldiers on the West Bank. Abu Hamdan made an audio analysis to ascertain whether rubber or live bullets were used. The film centres on the gunfire, yet no shots are heard. "Rubber Coated Steel" does not preside over the voices of the victims but seeks to amplify their silence, questioning the ways in which rights are being heard today.
Director
The All-Hearing shows two local sheikhs delivering sermons on noise pollution in Cairo at the artist’s request. This unorthodox intervention into the sonic landscape of the ‘loudest city on Earth’ followed on from the military regime’s attempts to restrict such sermons to government-sanctioned topics (that week, the Prophet’s Ascension to Heaven). Cutting between close-ups of the sheikhs’ idiosyncratic addresses and wide shots of their congregations and the loudspeakers amplifying their voices in the streets outside, Abu Hamdan’s images show how the sheikhs’ message is disseminated in a way that contradicts its content.
Sound
Two similar paintings filmed in detail. The original depicts the French colonial overlord, the copy the Syrian resistance leader who fought the French. A fascinating story highlights the discrepancy concerning specific choices and questions about the colonial past and how we deal with it are brought sharply into focus.
Cinematography
Two similar paintings filmed in detail. The original depicts the French colonial overlord, the copy the Syrian resistance leader who fought the French. A fascinating story highlights the discrepancy concerning specific choices and questions about the colonial past and how we deal with it are brought sharply into focus.
Writer
Two similar paintings filmed in detail. The original depicts the French colonial overlord, the copy the Syrian resistance leader who fought the French. A fascinating story highlights the discrepancy concerning specific choices and questions about the colonial past and how we deal with it are brought sharply into focus.
Director
Two similar paintings filmed in detail. The original depicts the French colonial overlord, the copy the Syrian resistance leader who fought the French. A fascinating story highlights the discrepancy concerning specific choices and questions about the colonial past and how we deal with it are brought sharply into focus.
