Lineup

Adrift Potentials | Leonardo Pirondi

A speculative attempt to reconstruct an unfinished Brazilian film shot and half-assembled during the military dictatorship of the 1970s. The results comprise a floating diary of radio recordings, voice interviews, and empty rooms that contemplates the country’s colonial past.

refrigerator hum | Jade Wong

Filmmaker, mother, and grandmother converse, exploring care, shared knowledge, and images of food-making around their family restaurant. Memory is reanimated through varied image formats: 35mm portraits on oscillating lenticular prints, laserjet prints of 35mm film transferred onto 16mm loops, and photographic prints on polystyrene. 

That split-up place | Inés Pintor Sierra, Pablo Santidrián

A docu-fictional coming-of-age story about two boys who are best friends separated by highway construction and the social structures of their eventual adult lives. The narration is constructed from loving phone calls and letters read aloud, which convey a pervasive nostalgia the men ultimately call into question. 

Oh Paulo | Cam Archer

Riveting firsthand contemplation of image-making, aging, and interpersonal intensity as told through the filmmaker-photographer’s impressionistic recollection of his young muses’ beautiful gestures and projected interiority.

at the bamboo green 在竹翠苑 | Xiaolu Wang

The filmmaker’s visit to their grandmother’s grave in Hui Muslim tradition at the foot of China’s Helan Mountains. Shot on cellphone in one continuous take, the film accentuates an in-between: visiting from America, the space of chant, and a tension generated by the camera’s presence.    

I Was There, Part II | Chi Jang Yin

Combining newly uncovered 16mm footage of the bombed landscape of Hiroshima from United States Army archives with contemporary images of the city, the film recounts a dream of mother, daughter, responsibility, and survival.  

Un Âne | Sirah Foighel Brutmann, eitan efrat

A retreading of the desert journey captured in Chantal Akerman’s No Home Movie (2015) calls into question the nameless abstraction with which Akerman blanketed the Israeli-occupied Palestinian landscape, and attempts to politically dialogue with the filmmaker in the wake of her suicide.