Festival de Antropologia Visual da Universidade de Manchester [em Lisboa]

Link para o evento – https://www.facebook.com/events/909594719143663/

ENTRADA GRATUITA
Todos os filmes são falados em língua original com legendas em Inglês

PROGRAMA

SEXTA-FEIRA – 2 DE DEZEMBRO

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– Of people, chickens and mirabelle plums (Romania, 29’)
Maria Nastase (RO)

Gossiping on a bench in front of one’s yard, tending chickens and picking mirabelle plums to make brandy: a visual exploration of the everyday public interaction in a Romanian village.

– While we wait (England, 22′)
Hayley McGovern (UK)

In conversation with Kath and Izy in the run up to Manchester’s polemic Town Hall protest and homeless camp, we take a closer look into the painful effects of social alienation and perceptions of self in relation to society amongst the homeless.

– The Sea that Gathers (Denmark, 28’)
Ann-Katherine Kvrono (DE)

A fishermen’s life in the outskirts of Copenhagen preparing for their annual race.

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– Savages (England, 27’)
Howard Walmsley (UK)

This film explores how participants respond to being photographed, how they comport for the camera, how they see themselves and how they express ideas of being seen.
The setting is a reconstruction of the grid system used in early anthropometric photography, which has been described by Elizabeth Edwards as: ‘the most overtly oppressive of photographic practices’.
Anthropometry is the term used to describe the anthropological sub-discipline of the measurement of human anatomical difference. These images, which have come to represent the intersection of anthropology and photography, were generated in the 19c as part of a colonial exercise in the classification of peoples of the world. In addition to measurements taken using callipers and weighing machines, photography was seen as an essential adjunct to this sub-discipline, which coincided with the with emergent European interest in images of the ‘exotic other’.

– The Yayas De L´Élégance (France, 27’)
Maria Jose Pavlovic (CH)

S.A.P.E is the acronym for the Society of Ambience Settlers and Elegant People. The followers of this movement are called “sapeurs”; men devoted to elegant dressing originally from Congo-Brazzaville, West Africa. Part of a sapeur´s achievement is to settle in Paris, the fashion´s capital so there they can become a “yaya”, a lingala word to express an experimented, recognised sapeur. Through the story of Fuluzioni Di Aluzioni, Annick Bertin “General Firenze” and Chardel Matsanga, this film tries to reveal the main aspects of this congolese practice.

– Shooting Freetown (Sierra Lione, 29’)
Kieran Hanson (UK)

A decade since Sierra Leone’s devastating civil war, from the ashes rises a new dawn of creativity in audio-visual media. Inspired by Jean Rouch’s ‘shared anthropology’ and ‘ethno-fiction’, Shooting Freetown follows three people forging their way in film and music in the nation’s capital, facing the constant struggles with vision and resourcefulness. By incorporating collaborative video projects, their stories give a fresh image of post-war Freetown – presented to the world through their own lens.

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– Haraka Baraka (Holland/Kurdistan, 27’)
Lana Askari (HL)

After having lived in the Netherlands for over 20 years my parents, Gulzar and Shwan, decided to move back to Kurdistan. Escaping the Iraqi regime as refugees in the early 90s, Iraqi Kurdistan has recently developed into a regional safe-haven. However, with current tensions around the threat of the Islamic State (IS), the social and political landscape is changing drastically. In Haraka Baraka, I follow my parents’ return to their homeland whilst addressing notions of belonging, transnationalism, temporality and (re)imagining future horizons.

– Looking Back (England, 24’)
Elise Laker (UK) & João Meirinhos (PT)

What do Matt Damon, Madonna, Denzel Washington and Michael Jackson have in common? ‘Looking Back’ is a self-reflexive ethnographic film produced in collaboration with Creative Support. It follows the weekly rehearsals of the ‘Breakthrough’ drama group for individuals with different types of learning disabilities. Why do people want to become famous?
By pretending to be someone else we can discover more ourselves and, by looking back at the whole process of becoming another, we end up being a creative character in our own documentary.

– Breaking the Chains (Indonesia, 65’)
Erminia Colucci (IT)

The practice of using shackles and chains (known in Indonesia as pasung) to physically restrain people with mental illness is widespread in Indonesia (as in many other developing countries) and almost universally ignored. The Indonesian government is the first of any low or middle-income country that has established a national program to eradicate this practice. This documentary, the first of its kind, highlights the activities carried out at several levels in the country to eradicate this form of human rights abuse and give freedom and dignity to the mentally ill.
This film tells an original story about the social and political activism to free them from this practice. In particular, the film will follow the activities that have been initiated by an organization run by mental health patients.

SÁBADO – 3 DE DEZEMBRO

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– Far From the Frontline (Ukraine, 30’)
Stefania Villa (IT)

More than a thousand kilometres away from the battlefield, the harsh reality of the contemporary war at the Ukrainian eastern border weighs on the lives of two women. While Tania deals with the absence of the recruited son and the new uncertainty of everyday life, Alice’s belief in the colors of the Ukrainian flag makes her start tattooing nationalist symbols on the bodies of the growing number of young patriots.

– Women in Couleur (Austria, 29′)
by Hannah Hauptmann (AT)

This research centres upon Austrian Christian student societies for females who are situated in a highly male dominated environment. The practice of Couleurstudententum* derives from nationalist organisations that were very involved in the revolution of 1848. Gradually, confessional groups were also founded but women were not part of this tradition until the turn of the century as they were not permitted to enrol at universities before. More and more female students started to establish groups for women only but up until today they are still occasionally forced to defend their doing against the men as many do not recognise women’s groups as equal but label them as mere imitators. Only a few groups have departed from this gender division so far and have started to mingle. What is more, for all potential members of Christian and Catholic student societies it is mandatory to strive for the four so called principles of ‘Amicitia’, ‘Scientia’, ‘Religio’ and ‘Patria’.

– Happily Ever After? (Indonesia, 28’)
Dorien Theuns (HL)

Their grand-grand-grand parents were slaves of a Dutchman, and they are happy about it. Why? Because the Dutchman was a Christian hero, who brought his Indonesian slaves the light, freed them and left them his land. The only condition: they had to continue his Christian model-community into the future. Happily ever after?

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– A Good Day (Romania, 25’)
Clara Kleininger (RO)

In Chișinău, Lidia and Masato run a marital agency that connects Moldovan women and Japanese men. Nadia is preparing to visit her future husband, Mitsuhiro, in Japan and get to know what life feels like there, while Takashi gets an Orthodox baptism, so he can marry Axenia the Moldovan way.

– What life is like here (Serbia, 29’)
Marlene Wynants (DE)

Jasmina, Toplica and Claudia live in an informal settlement on the outskirts of Belgrade. Like other Roma families in the neighboring shacks, they live in extreme poverty as a result of discrimination and exclusion. Through experiences of migration and deportation to and from Germany, Jasmina lives separated from her parents and brothers. This film looks into the struggles of making a living on the margins of society. It also explores how the protagonists remember life in Western Europe and hope to go back there in the near future. Jasmina’s and Tony’s everyday life is permeated by thoughts of escaping, migrating and providing Jasmina’s daughter with a better prospect of life.

– On Common Ground (Israel, 25’)
Sophie Wagner (AUS)

On a small hill in the north of Israel the members of a religious kibbutz, a community of artists and an Arab village – who share a politically fraught history including losing homes and reclaiming identity – live as neighbours on a hillside. A glimpse into their lifeworlds reveals conflicting narratives of victimhood and guilt, pride and wrongdoings, and points to the question of how the creation of contemporary, shared, narratives of land and people can have an effect in a country that is divided within and under constant pressure from the outside.

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– Hip Hop, mi desahojo (Colombia, 22’)
Simon Raising (HL)

Hip-Hop is often associated with drugs and violence and therefore seen by many as a way into prison, but Alma Negra, DJ Roky and New York, three inmates at Distrital prison in Bogota, Colombia, demonstrate the opposite. For two hours a day they are allowed to leave the courtyard to write and practice their music. Rap enables them to protest and share their experiences in life. This film tells their story and the impact Hip-Hop has on them.

– Extended Family (Switzerland, 31′)
Ramona Sonderegger (CH)

Mummy, mama and daddy; mummy, mama and sperm donor. The film “Extended Family” offers an intimate insight into two same-sex families’ lives, who found a way to create their families within a legal grey zone in Switzerland. Swiss law bans access to adoption and any assisted reproductive medicine for same-sex couples, therefore the portrayed families do not exist officially. Nevertheless, according to estimations, there are between 6.000 and 30.000 children living in rainbow families across the country. By including all the different involved family members, the film shows how connections and disconnections between them are being shaped and what kind of difficulties might arise if suddenly both partners have the ability to conceive a child.

– City Play (Egypt, 31’)
Paloma Yánez (ES)

Play, although very present culturally in Cairo, is seen as a form of entertainment rather than an endogenous human characteristic. As such any debate of play is excluded from educational policies and consequently from the schooling system. This came to my attention in 2012 when I contributed to the creation of the first play-based educational scenario in Cairo. This project was inspired by the mini city educational model, present in over 70 countries of the world, and took the name of Mini-Medina (‘mini-city’ in Arabic). The project aims to create a simulated real-size city scenario for children to learn about the mechanisms of a city, imagining their ideal city and their role in society. During childhood every child goes through a process of discovery in which they make sense of themselves and the world around using their experience and imagination. This film its a journey shown in two screens contrasting the different roles children can take in the city and later how those roles transform as they grow up. Exploring the different interpretations and desires towards everyday life that children have in the city, revealing how in play the child learns to adapt to culture while acquiring tools to recreate and reinvent society. The film, shot in Cairo, seeks to portray the different ways children have of playing the city and play in the city, experimenting with the thin line that distinguishes play from reality.

– Afluentes (Peru, 28′)
João Meirinhos (PT)

“Afluentes” are small rivers or streams that flow towards a bigger river or lake which, in this case, symbolize Ayahuasca. An ancient psychedelic brew that changes peoples’ perception and brought together, in this film, a teacher, a traveller and a desperate man to the same place. This documentary focuses on the increase of spiritual tourists in the Peruvian amazon, modern shamanism and the healing potentials of traditional plant medicine.

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