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Filmed in Rwanda in April 2004, during performances of the show Rwanda 94, in the context of the 10th commemoration of the genocide of the Tutsis and the massacre of Hutu moderates. How can theatre question reality when faced with the primary actors of the story told on stage? The intense, cathartic, active answer of the Rwandan audience brings to the fore the current concerns of the survivors. What is life like for them 10 years after the genocide? Echoing the issues in the play, "Rwanda. Through us humanity..." allows the survivors of the genocide to speak out, in their current reality, during this special period of mourning. The memory of the genocide is sought out, is established through the traumatic awakenings, the evocations, the disinterment and dignified burial of victims, the fears and worries with regard to the threats that still weigh upon them today.
The film consists largely of a series of interviews with female filmmakers from several different countries and filmmaking eras. Some, such as Agnès Varda and Catherine Breillat (both from France), have been making films for decades in a conscious effort to provide an alternative to the male filmmaking model; others, such as Moufida Tlatli (Tunisia) and Carine Adler (England), are relative newcomers to directing, and their approaches seem more personal and less political. The film as a whole manages to cover some important topics in the feminist debate about film -- how does one construct a female gaze, how can one film nude bodies without objectifying the actors (of either sex), what constitutes a strong female role -- while also making it clear that “women’s film” comprises as many different approaches to filmmaking as there are female filmmakers.
This short film can be considered as notes on the origins of the situationist movement; notes which thus naturally include a reflection on their own language.
Follow 3 women as they experience a 100+ km traverse from the Bugs to Rogers in British Columbia.
From Bucharest to the remote villages of the Carpathians, from the national composer Georges Enesco to his contemporary heirs, a journey in the footsteps of Romanian musical traditions. “Romanian popular music forms an imposing whole, a precious treasure from which our composers draw their inspiration,” said Georges Enesco, trained on the violin by a Gypsy teacher. Punctuated by quotes from the composer and interpretations of his works, this documentary sets out in search of a treasure of many nuances, which continues to liven up village festivals and influence the young Romanian scene. From the scores of Dan Dediu, one of today's greatest composers, to the folk songs of the Maramures, a journey to discover this fascinating mosaic of musical cultures.
A film of the making of the new Tiersen album, Les Retrouvailles, La Traversée (The Crossing), was made by young director Aurelie du Boys. Tiersen says he wanted to fix the moment, immortalize it on film as something freshly created with each of his different collaborators, Jane Birkin, Liz Frazer (of Cocteau Twins), Stuart Staples (of Tindersticks), Dominique A and Christophe Miossec. A musical documentary where you see the musicians struggling with the computer, fine-tuning the recording, smoking a cigarette against the sea spray of Ouessant or riding a scooter down the island's pebbly tracks.
The neighborhoods of a quiet city. Traversing a wasteland Pierre looks for the memory of his father, missing as war photographer, and opens his horizons. With unusual parameters the film tempts to open a direct access to the Sensitive.
While his mother is fighting cancer, his sister announces that she is pregnant, and his father sets out to renovate the dining room, David Maye films. He films the intimacy of his family, the moments shared in the house that saw him grow up, between the vines of the Valais region, in the hollow of the mountains. The Sunday reunions, around his father’s cooking, the summer days in the flowering garden, together… He films, as if his camera could still hold back his family, keep it solid and close-knit, when everything is crumbling faced with the perspective of death.
