François Bonenfant

In the shadow of a colonial past and a neo-capitalist present, Inti, Jai and Pauline are searching for their place in a world that was not made for them. As they roam the neighbourhood looking for somewhere to settle, they question their parents about faith, spirituality, roots and their experiences of migration. They decide to occupy an empty bank building in order to fill it with their memories, dreams and role play. A portrait of our time that oscillates between documentary, performance art and surrealism.

The piece, an experiment that begins on the skin, in the skins of a family that spoke in silence about a tropical dictatorship in the 1980s, the dictatorship of a house. The skins whispered silently and their voices were heard in the corners, on the walls, in the cooking pot, on the soupspoon, on the wet beans. As the soldiers marched in the streets, the echo of their footsteps resonated in the walls of the home of a military man’s family, a house where the words were forgotten. With few oral resources, some photographs and some stolen confessions, the director proposes an exploration that goes from the personal to the political through a fictionalized experience of the family story related to the dictatorship of Panama.

The piece, an experiment that begins on the skin, in the skins of a family that spoke in silence about a tropical dictatorship in the 1980s, the dictatorship of a house. The skins whispered silently and their voices were heard in the corners, on the walls, in the cooking pot, on the soupspoon, on the wet beans. As the soldiers marched in the streets, the echo of their footsteps resonated in the walls of the home of a military man’s family, a house where the words were forgotten. With few oral resources, some photographs and some stolen confessions, the director proposes an exploration that goes from the personal to the political through a fictionalized experience of the family story related to the dictatorship of Panama.

Подеста — «остров-призрак», предположительно находящийся в Тихом океане к западу от Чили. В своем гибридном фильме Стефани Ролан приводит различные сведения об этом острове в попытке восстановить сложную, фрагментированную картину.

Images of crowd simulation are faced with testimonies from Liverpool Football Club’s supporters who recall their experience marked by a tragic event: the Hillsborough stadium disaster in 1989, which changed the nature of the game of football.

Dressed in a wedding gown, the Milanese artist Pippa Bacca leaves her native city in direction of Jerusalem. Accompanied by fellow artist Silvia Moro, both women hitchhike their way across the Balkans with a clear aspiration: opening themselves towards ‘the Other’. As their travel-performance unfolds, the artists decide to take two different paths and Pippa is later found dead in Turkey. The film embarked on a journey in quest of her memories.

The Mutability of All Things and the Possibility of Changing Some explores our human adaptability in light of catastrophe by way of seminal literature passages implying a transitory social body.