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The Dutch anti-apartheid activist Klaas de Jonge is arrested in South Africa in 1985 on suspicion of terrorism that resulted in deaths.
"they lived and laughed und loved end left" — a filmed diary of 2013
An in-camera 16mm edit of the 1st anniversary/birthday/funeral of OWS in New York City, as seen from an embedded role in the Jellyfish Brigade, an ad hoc affinity group formed to participate in the day's event. Bold impact fonts compliment and countervail the images toward a warm antagonism.
A short documentary about community gardening in Ridgewood, Queens one year after the COVID-19 lockdown, and the legacy behind a former boundary marker between the two colonial counties of Newtown and Bushwick named Arbitration Rock.
Metro is a factory of rush for the passengers. Thousands, who do not hurry to break the circulation schedule, work to create the rhythm. What does the escalator controller think of, sitting inside her booth during the rush hour? How do the cashiers see us through the window of their own, separate world, decorated with flowerpots? What a metro worker in the small room with found items loses?
Chapter 15 of the series 18 decades of life in Mexico in the twentieth century. Images of the cultural, social and political life in Mexico from 1970 to 1974. During the presidential term of Luis Echeverria Alvarez fantasies of prosperous and modern country it dissolves; Mexico live in political crisis. It is a time of omnipotence, barbarism, and violence intervention: the world seeks new ways. In Mexico, it held the World Cup, unionism is strengthened and inflation responds to the continuing economic imbalances.
Considering himself a reincarnation of a dead soldier, historian Bassel Abi Chahine has the remarkable ability to recall details from the Lebanese civil war, which mostly took place before his lifetime. Standing in front of the projected photographs from his personal collection, Abi Chahine embodies the suppressed trauma hidden to his generation.
To the sounds of a shifting collage of pop music, three dancing queer bodies move around sparsely lit spaces where fragile walls are falling apart. The transience of the walls, the vanity of the dancers, the chiaroscuro-lit images, and the title of the film take us back to the 17th century and Baroque painting, where the concept of vanitas was used for still lifes that referred to the vanity of life through elements such as fruits and flowers. ‘Vanitas’ is a musical dance work in a decaying, dreamlike world full of fragility and uncertain intimacy, in a constant alternation between being alone and being part of something.
The city dissolves itself in the same way it was created. With each movement, its inhabitants are preparing to leave to another place, while forming the newton image.