Official Section 2018

7th Nature and Cinema Exhibition ForadCamp 2018

After/Life, Puck Lo (USA, 2017, 15’)

 

In an Arizona desert, a dystopic collective nightmare unfolds where US domestic and foreign policies collide.

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Cerúlia i negra, Macià Florit Campins (Spain, 2018, 5’)

 

“Cerulean and black” is a romantic exploration of the maritime movement towards the night. Based on the unpublished work of the Menorcan painter Francisco Hernández-Mora (1905-1980), the film digs its graphic motifs in the middle of a storm in the north of the island.

 

 

 

 

Cucli, Xavier Marrades (Spain, 2016, 16’)

 

Cucli tells a story about love and companionship after death and its transformative effect. How through memories, the supernatural can find its way into our mundane lives.

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El mar inmóvil, Macu Machín (Spain, 2018, 11’)

 

In the islands of dry lava in Canary Islands nothing moves but the perpetual sea and wind. The salineros are devoted to them. In the art of desalinating the ocean, they have become a landscape.

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Ins Holz (In the woods), Corina Schwingruber Ilić & Thomas Horat (Switzerland, 2017, 13’)

 

Snow, sweat, testosterone and the sound of chainsaws. Every four years, over a period of three moths in winter, a group of men cut the wood in a steep mountain high above Lake Ägeri and prepare it log rafting.

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La dernière meute, Morgane Thibaut (Belgium, 2017, 19’)

 

“The last pack of hounds“ portrays the last team of hunters with hound dogs from Belgium.

 

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La flor de la lengua de vaca, Germán Reyes Ruiz (Colombia, 2018, 23’)

 

Camila lives her last days in the jungle as a guerrilla of the FARC-EP, at the crossroads between an uncertain future of peace and the lingering memory of a childhood severely punished.

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Ligne noire, Mark Olexa & Francesca Scalisi (Switzerland, 2017, 11’)

 

A woman fishing in turbid waters, a suffering nature, the broken chant of the muezzin, all linked by a thin, black line.

 

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Maregrave, Justine Cappelle (Belgium, 2017, 25’)

 

An impressionistic portrait of the sea as a collector of human decay.

 

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The Mauritania railway: backbone of the Sahara, MacGregor (USA, Spain, 2017, 12’)

 

The Mauritania Railway is a 704-kilometer line linking the iron-mining center of Zouerat with the port of Nouadhibou. Atop a hopper car, we journey through vast Saharan landscapes with the people who rely on the train for their survival.

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Tierra del viento, (Land of the wind), Laura Belinky (Argentina, UK, 2017, 18’)

 

Patagonia, further South than most people ever dare to venture there’s a land of endless distance and beauty. While fine-art photographer Eliseo Miciu explores this mythical place he also learns a bit more about himself.

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Two°C – New-York City, Maxime Contour (France, 2017, 4’)

 

What New-York would look like if climate change continued and sea levels rose high enough to flood it?
This film is based on studies and forecasts of scientific experts on global warming if no new strong measure against that is engaged.

 

 

 

 

White trash, Sunčica Ana Veldić (Croatia, 2017, 11’)

 

Foggy winter morning on the junkyard Jakuševec where hundreds of gulls are feeding on human trash. The whiteness of their flying bodies are the complete opposite to the garbage beneath them.

 

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Wind should be heard not seen, Claire Sanford (Canada, 2018, 13’)

 

From Western China to Beijing, from Seoul to the Pacific, we follow an unlikely protagonist : dust. When worrisome environmental changes can be measured by studying the wind, people start to find ways to adapt to our transforming planet.

 

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Zirdzin, hallo! (Hello, horse!), Laila Pakalnina (Letònia, 2017, 24’)

 

A film about everything changing while remaining the same. Or, rather, everything remaining the same while changing.

 

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