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A “reading film” of delirious image and text, Les chants de Maldoror takes its title and inspiration from Comte de Lautréamont’s 1869 proto-Surrealist poetic novel which, for instance, describes beauty as the chance encounter of a sewing machine and an umbrella on an operating table. In the novel’s six cantos, a young misanthrope indulges in depraved and destructive acts. Unexpected encounters abound, with turtles and birds joining Terayama’s regular cast of snails and dogs to wander over books and bare torsos. Feverish video processing posterizes, inverts and overlays images that are further colored by sound—pushing the limits of his literary adaptation. Terayama wrote that the only tombstone he wanted was his words, but, as Les chants de Maldoror demonstrates, words need not be confined to carved monuments or bound hardcopies.
“La Zerda and the songs of oblivion” (1982) is one of only two films made by the Algerian novelist Assia Djebar, with “La Nouba des femmes du mont Chenoua” (1977). Powerful poetic essay based on archives, in which Assia Djebar – in collaboration with the poet Malek Alloula and the composer Ahmed Essyad – deconstructs the French colonial propaganda of the Pathé-Gaumont newsreels from 1912 to 1942, to reveal the signs of revolt among the subjugated North African population. Through the reassembly of these propaganda images, Djebar recovers the history of the Zerda ceremonies, suggesting that the power and mysticism of this tradition were obliterated and erased by the predatory voyeurism of the colonial gaze. This very gaze is thus subverted and a hidden tradition of resistance and struggle is revealed, against any exoticizing and orientalist temptation.
Early on in this engaging historical drama, a marquis (played by the singularly droll Jacques Nolot) offers a peddler a carriage ride on a remote country road. After sizing up his benefactor, the peddler fights motion sickness to deliver his sales pitch: “I have here a few objects of wonder, pious images, pamphlets against men of the cloth, newspapers from Amsterdam and London, holy cards, quills, writing paper…”
As a portrait of a housing project with astonishing shapes (La Maladrerie near Paris), SONGS NEXT DOOR by Flavie Pinatel is a documentary of a different kind, since the protagonists express themselves through songs and not through speech. Implicitly, Flavie describes poetically how people live together in France in 2016.
At the foot of the Andes Mountains in Chile lies an idyllic German colony called Villa Baviera. However, the beauty of the place – formerly known as Colonia Dignidad – hides a grim past. Systematic child-abuse, medical experiments, torture chambers and mass graves are part of its history. Today, 120 inhabitants still live their lives in the colony which has since changed its name to Villa Baviera and where a disturbing blend of religious fanaticism and extreme conservatism still holds sway.
With Olin's 85-year-old father as guide, we experience Norway's most adventurous valley, Oldedalen in Nordfjord. He grew up here, and here generations before him have lived in balance with nature.
While serenading a wedding that quickly implodes, a nomadic musician falls for the bride, who runs afoul of her family. Now he has to save her life.
