Good Bye Mandima (Kwa Heri Mandima)
Kwa Heri Mandima is a personal story about a point of departure, which dwells less on the filmmaker's childhood in Zaire than on the divergence of his story from the village, his friends. With images from the family album, Lacombe tersely describes the experience of a 10-year-old expatriate, and the process of learning to be white in Europe while your tree-climbing companions suffer untold atrocities in a bloody civil war. A portrait of European mobility; an elegy for what's left behind.
Entrevista con la Tierra
Ambivalently fiction and documentary, Entrevista con la Tierra traces the reverberant silhouette of absence: a child has died, leaving family, friends, and community to grasp at shadows, pursue solace through ritual, pretend nothing happened. Into this void, director Nicolas Pereda probes with questions and camera, enacting a search for reconciliation that speaks to a modern, autochthonous child.
Manque de Preuves
A terrifyingly vivid tale of survival, Manque de Preuves uses a morphing set of visual strategies to represent the slippery grounds of truth, and the tragic disconnect between storytelling – that most fundamentally human form of communication – and our cultural insistence on visible evidence. Poignant yet admittedly moot, Manque de Preuves shows how modern justice is blind to emotion, to suffering, to any victim who has not had the luxury of documenting his plight..
Printed Matter displays the conflation of private lives and contemporary geopolitics. The evidence comes from Brutmann’s father, André, who was, up to his untimely death in 2002, a freelance press photographer covering two decades of Middle East news for local newspapers as well as for international, mostly European, print media. His voluminous collection offers a visual chronicle of the Israeli-Palestinian conflict that consists of surprisingly familiar images of civil dissent, armed violence, funeral grief and political speeching in both Israel and the Occupied Territories. After becoming a dad in 1983 and finishing a day of work, with a few pictures left on the film role in his camera, this professional media worker would regularly photograph his daughter and wife, later a family of four.