Director
In 1772, Englishwoman Mary Delany wrote to her niece: “I have found a new way of imitating flowers.” The imitation in question was the art form called decoupage, based on cut-outs and reshuffling of pictures. The charm and botanical precision of these works attracts attention of even today’s artists, among others by an anonymous programmer who is trying to invent a way of capturing the flowers’ vivacity in pictures. With this aim in mind, she has created an algorithm, which would combine science and beauty, similarly to Delaney’s efforts, whose illustrations it is meant to animate.
Color Grading
B., a film-maker and insomniac, decides to rescue his hours of insomnia from the void by filming his quest for sleep. The insomniac asks questions about these different states of consciousness and about the difficulties humans have in synchronising their social rhythms and biological ones.
Colorist
오마르 블론딘 디옵의 이름은 세네갈에서는 처벌되지 않은 국가범죄와 연관되어 있다. 프랑스에서 그는 장 뤽 고다르의 정치적 극영화인 중국여인에 등장하는 마르크스주의 운동가로 기억된다. 오늘날 세네갈 다카르에서 그의 형제들과 친구들은 그를 기억하고 있으며, 중국-아프리카라는 불완전한 현재의 지형 속에서 현지 젊은이들이 각자의 운명을 걸고 있다.
Color Grading
남편과 헤어진 잔은 그녀의 여섯 살짜리 딸과 함께 스페인의 마요르카섬으로 둘만의 주말 바캉스를 떠난다. 경제적으로 어려움을 겪고 있는 잔에게 이 여행은 오직 딸의 학교 숙제인 '여행지에서 학급 마스코트인 인형 키키와 함께 하는 사진 찍기'가 그 목적이다. 신용카드는 이미 한도를 초과했고, 딸을 먹일 식료품을 살 돈도 수중에 없는 잔. 그러나 그녀는 딸의 학급 학부모들과 남편에게 딸이 엄마와 해외에서 멋진 여행을 하는 것을 보여주면서, 혼자서도 딸을 잘 키우고 있음을 인정받길 원한다. 잔과 그녀의 딸은 어떻게 진정한 그들만의 바캉스를 보낼 수 있을까?
Color Grading
What is it like to be young and grow up on a reserve? Focussing on music lessons, the film reveals the complex relationships that Indigenous youth can have with their “white” teachers. How can two cultures come together? A question the film asks, while inviting us into the private worlds of three Atikamekw teenagers, Myrann, Wapan and Seskin, who are trying to build their future and find a place in this world.
Production Design
The doors of the abandoned Raverdy coffee and chicory factory remain closed, just like everything around it. The director – herself a descendant of the Raverdy family (and expecting her first child) – goes in search of the stories behind this sealed-off part of the city. She moves in with her 91-year-old grandmother, who lives over the road. Piece by piece, she is able to reconstruct events leading up to the factory’s closure, using old photos, advertising brochures, myths, language games, conversations with her grandmother and former female factory workers. These memories unfold through different storylines. The factory’s surroundings are explored through a poetic film style, and the history of the nunnery next to the factory is also revealed. This sensitive film is a reflection on the invisible and the forgotten, revolving around women and the changing body.
