4th Nature and Cinema Exhibition – ForadCamp
Anima, by Simon Gillard (Belgium, 2014, 18′)
Among men and their rough and serious gestures, a soul is released. It escapes from our world into a curious trip, a flight through a strange town in western Africa. Its powerful and evocative images are mixed with stimulating sounds to give us a vision without limits of this dream.
Calendar girls, by Lisa Birke (Canada, 2014, 4′)
A humorous spectacle reveals the fallacy of the selfie and the mythos of objectification while restoring the humanness of the stripped-down Calendar Girl. The work was filmed unaccompanied by the artist in the the south-western area of Ontario, Canada, over the course of a year from January to December 2014.
Carta a Nura, by Macià Florit (Spain, 2014, 12′)
The director adresses a letter to the land, to Nura, the ancient name that Phoenicians gave to the island of Minorca. While narrating a familiar trip to a prehistoric settlement in Son Catlar, close to the town of Ciutadella, an autobiographical voice reveals several impressions raised after the visit. “Letter to Nura” is a film about Talayotic Culture, the genre of which shifts from cinematic correspondence to essay film. In any case, all that is just an excuse to reflect on the Minorcan identity.
Comer del monte, by Andrea Ruffini (Paraguay, 2014, 30′)
The Paraguayan Chaco is the area that registers the highest rate of deforestation in the world. In collaboration with youth Enlhet Enxet communities and Sanapana, “Comer del monte” brings us a portrait of the daily life of some indigenous communities of the Central Chaco of Paraguay, and shows how indigenous peoples live their physical and spiritual relationship with the forest, its plants and animals.
Espés, by Tànit Fernández and Isaac Rodríguez (Spain, 2013, 12′)
Espés, a village in the Aragonese Pyrenees, like many others in Spain, runs the risk of disappearing because today only four people live there. In this documentary portrait we listen to the stories of these four people, who reflect on the past of the village, what’s left of it, and the fear of these four people of what will happen when they are no longer there. In the background of these conversations, we perceive the relentless passage of time.
Extremos – Viaje a Karukinka, by Federico Molentino and Juan M. Ferraro (Argentina, 2014, 27′)
Tierra del Fuego has a present time full of polarities, antipodes and extremes. Its landscapes, its vegetation and a contrasted city which is constantly moving forward, compose the surface to project images of the selknam community, in which the past and the present coexist in the same narrative time. Through a technique called mapping and film editing, the short film articulates the confluence of indigenous ceremonies and contemporary behaviours in everyday situations of the region.
Komorebitachi, by Sophie Perrier and Masanori Omori (Switzerland-Japan, 2014, 15′)
A natural landscape in Japan serves as a backdrop to provide a relaxed look of the rituals of life and its secret movement. A young lumberjack cuts a tree, asking for forgiveness, while the other villagers plant another, in order to restore the balance of nature.
Prisioneros del Kanún, by Roser Corella (Spain, 2013, 25′)
Since the collapse of communism in Albania, the ancient blood feuds ruined several lives, especially in the mountainous north of the country, where many families live in isolation, confined to their homes for fear of blood vengeance. The recovered ancestral code of Kanun, which had governed rural life during five centuries of foreign occupation, includes the right to kill to avenge a previous murder: the blood is paid with blood.
Sinfonía de galernas, by Nadia Penella (Spain, 2014, 14′)
The storm strikes again the Cantabrian coast. The walls of the dam become repressors of the rage of the sea. Through the radio frequency channels, we hear the voices of dockworkers and fishermen, responsible for coastal stations. “Sinfonía de galernas” proposes a reflection on the behaviour of the sea and creates a portrait through its relationship with humans: the sea as menace and as sustenance.
Trento Symphonia, by Flatform (France-Italy, 2014, 19′)
The sun sets in a mountain landscape. An orchestra and a choir, along with a large group of teenagers who act as living stands are filmed as they play the first part of Mahler’s Eighth Symphony. In “Trento Symphonia” the landscape becomes a point of convergence between contemplation, correspondence and imagination.