There will always remain traces of the deceased, elements that testify that a life did exist, that deeds were enacted, and struggles engaged in or evaded. Archives are born from a desire to reassemble these traces rather than destroy them.- Achille Mbembe As a medium capable of manipulating and being manipulated, film simultaneously boasts an ability to portray reality while also having a knack for fictionalizing fragments of truth. Archival film/video, a source of falsities and actualities used to materialize past stories and nostalgia, is a good example of the bipolarity of the moving image medium. Things remembered are kept in the light; things forgotten are pushed into darkness. Without light, we have no ability to create or experience film. We have no ability to be enlightened by its complexity.Most archived film/video is conserved, preserved for an unknown future. However, in the insanely affecting and haunting experimental short doc “I think this is the closest to how the footage looked” the footage [in question] recorded of filmmaker Yuval Hameiri and his family on what was to be his final day with his mother, was supposed to be instantly cherished. It was created in order to offer the family the ability to revisit a memory that could never be relived. Or could it? We learn, through the use of inanimate objects, that the final footage was lost in an accident that could never put any person at fault. A badly timed rewinding of a tape - just unfortunate happenstance. Because the footage was lost, Hameiri makes sure that every minute is relived, recreated with random objects, possibly to find some tangible moment or fleeting feeling that has been missing for years. He struggles. We are passive. The audience merely watches a new type of performed archive created for the sake of healing and understanding. We watch silently, comprehending the pain through a multi-layered sense of analog creation. The video tape, the reenactment - all analog, all real. A truly physical sense of trying to put your finger on a life no longer there. It’s hard to describe a film of this type simply because I found it hard to watch. I constantly felt like I was in a place I shouldn’t be. A Peeping Tom. Yes, it’s beautiful and yes, you should absolutely find a quiet, peaceful moment to watch, but be warned: the film is unforgiving in its grief. Truly, Hameiri's film is as real as it gets. Feelings stripped raw. I’ve never experienced anything like it. You’re there and yet you’re far away from it. I’m thankful for this film. For the way it made me feel, cry and understand my own past grief as well as that of the one’s around me. Go, hug your loved ones and reflect: is it better to record every moment and possibly lose it or truly live in the moment and never have the chance to visually relive it again?
The story of a woman looking to escape her problems at the bottom of a Vodka bottle, Samuel Aaron Bennett’s Baby is a contemplative short that centres around themes of parenthood and responsibility. Premiering earlier this year at SXSW, Bennett’s film cleverly mixes dark-humour with some heavy subject matter to create a film which is as entertaining as it is thought-provoking.
The Paris/Montreal filmmaker collective DentDeCuir is known for some pretty outlandish, creative material. She’s Bad would be right up there at the top with the best of them. The story, special effects, and stylized look of the film, coupled with the electronic sounds of the DyE feat. Egyptian Lover soundtrack, make this film fall within its own unique genre. It’s part music video, part video art, part romantic drama and thriller. Using animalistic imagery, vibes, and movements, we see predator and prey told through the lens of woman meets man. Every action and thought uses special effects to project how closely innate human feelings resemble the actions of animals going off of instinct. It’s like watching a Nat Geo nature show, on drugs, projected onto the skin of these two lustful individuals. There’s really nothing else out there like it.Loads of street creds to Dent De Cuir for being borderline innapropriate, and over the line innovative!
Here's a short documentary portrait on a innovative designer who has created a low cost solution to landmine clearance, captured by director Callum Cooper. Massoud Hassani's Mine Kafon is a wind-propelled sphere made from bamboo and biodegradable plastic that can be used to clear landmines. When designer Massoud Hassani was growing up in Kabul, Afghanistan, there were several wars raging on nearby. He and his brother would play on the deserted fields making their own rolling toys with scarp materials but sometimes the objects would roll dangerously close to the landmines. This intense childhood experience inspired Hassani's design work, and the Mine Kafon is the result. This lifesaving design has been shortlisted as a finalist in for the 2013 INDEX: Award. This short documentary finished in one of the top spots for the GE FOCUS FORWARD Filmmaker Competition.
This beautiful video takes a tender look at one soul’s attempt to bargain with death before finally succumbing. The animated short, by And Maps And Plans, a small Dublin-based studio, has raked in loads of awards and was even shortlisted for the 87th annual Academy Awards. Its title, ‘Coda,’ is fitting for a video about our ultimate end. Take a look!
Dogs of Life explores the line between passivity and consideration. It explores human nature using surreal and subliminal messages. It tells the tale of a retired bounty hunter who goes above and beyond the appropriate call of duty to help his neighbor, who is like a stranger to him.
One of our definitions of Innovation is to create while looking at the world from different perspective. The fun loving, hungry filmmaking team of Jack Tew & Sorcha Anglim have a real knack for story telling from a wonderfully alternative angle.
Filmmaker Shaka King quotes the Urban Dictionary definition of 'mulignan,' (pronounced moo-lin-yan), as "Italian-American slang for a black man. Derived from the Italian dialect word for eggplant." King says the short film "Mulignans" is "a racial experiment, an experiment on you, the viewer." He says his experiment will succeed if he achieves in placing the audience in total discomfort with racial humor in between laughs.