The remains of our existence on this earth lie stored like an archive in thousands of layers in the ground. Remnants, bones, and stories slowly decay beneath our feet. Like a memory that eventually forgets to remember. This program deals with the traces of political power and interpersonal love as if they were archaeological finds. We sift through the rock – the earth, images, and words that remain when we disappear. For in the end, it is these remains that judge whether we inhabited the land as ants or as elephants. (Matti Ullrich)
IMAGES DE TUNISIE reclaims and recontextualizes archival footage from 1940s newsreels produced by Les Actualités Françaises, and combines it with new footage filmed at the same vernacular architecture sites in the Berber villages of southern Tunisia, including Matmata, Douiret, and Tameghza.
… >>>A photographer disappears in the moor. A narrator begins the search and follows her traces. On his journey, he encounters a landscape of eternal memory in which nothing fades away. Layers of time, peat, and carbon dioxide, a layered history.
… >>>This animation highlights the technological remnants of what is left behind. Color and rhythm creating a story on the ability to generate something new and releasing it. A primordial soup of pixels emphasizing the constant act of looking, viewing, perceiving, and receiving images. The film was created using a broken special effects machine from the 1990s, resulting in the destruction, overexposure, underexposure, abstraction, and, ultimately, in the freedom of the material.
… >>>A transtemporal film that narrates the love story between Nadir, a Moroccan student at the Łódź Film School in 1968, his Jewish editing teacher Edyta, and their shared relationship with Jarek. Despite her opposition to Zionism, Edyta is forced to leave Poland due to the political rift between Poland and Israel following the Six-Day War or An-Naksa, “The Setback“. In 2024, Nadir returns to the school to make a film after discovering a forgotten letter Edyta wrote to him from Haifa in 1989. The film mourns the cruelty of nations, birthing rare miracles—accidental loves—only to crush them before they breathe.
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