Poemas de la Poetic Shit #33 - Guillaume dime que hacer

Mi nostalgia no define la persona que queiro llegar a ser

“I love poetry because it makes me feel like my mind expands.” In Regard Silence, that's the very first sentence expressed—in sign language of course. Watching the poems signed by deaf people in this film has a similarly mind-expanding effect. That’s because sign language—the Mexican version in this case—is a very different means of communication than written or spoken language.

Pedro is Mallorcan, born to a mother from Burgos and a father from Mallorca. Due to his distant relationship with his father, Pedro doesn't fully master Mallorcan as a language. He turns to the works of Damià Huguet to remember his father, as only his poems can fill the void left by his death. The poet's words transport Pedro to his childhood and his roots, even though many of the words are unknown to him, despite them belonging to his language. This becomes the driving force behind the protagonist's search for his own identity, his origins, what it means to be a man, father-son relationships, collective identity, and "mallorquinness". Pedro constantly questions the emotions stirred by Huguet's poetry, and, most importantly, who he is and where he belongs.

The experimental animated film Song of the Flies (El Canto de las Moscas), translates the desolation caused by the violence of the Colombian armed conflict through the poetic voice of Maria Mercedes Carranza (1945–2003) and the audiovisual dialogue between 9 Colombian women. In 24 places, as a transit over the course of a day (Morning, Day, Night) a map of terror is drawn where massacres took place in Colombia in the 1990s. Archival images, the artists’ personal memories and the use of loops and analogue materials bring to life the landscapes ravaged by violence and build a polyphony of memory and mourning, a universal song of pain.

Desmayo Largueta

There was once a group of Peruvian anarchist poets forced into hiding who, during their secret meetings, sought to assume a non-human identity. Drawing on the famous Persian fable of the same name, the filmmaker translates the power of poetry and friendship into images and sound, serving as def iant stances against the established order.

Valentina seeks refuge from the incessant waves of her mind in the pages of her upcoming poetry book Lapislazuli, trying to keep her life from slipping away like sand through her fingers. With words from her poem Citrino, we journey through a range of emotions and feel the ups and downs of her Borderline Personality Disorder.

Pegadas de zila

Portugal, 1975. A time of rough changes. A young gay artist trapped in a small seaside town ran by communist winds. Al Berto, the writer, embodies an entire moving generation. He and his friends exude youth, eccentricity and hope for the future - but right after the fall of Portugal's dictatorship system, the country is not yet ready for his love story.

Cecilia arrives in Guadalajara for the first time to study at the Faculty of Literature and become a writer. There she meets Nicolás and Aristeo, young men who claim to be the founders—though in reality the only members—of the Underground Ultraism, a literary movement that aims to change Mexican literature. Through them, she meets Pita, an irreverent and openly bisexual poet with whom she forms a genuine bond. Cecilia finds a new sense of belonging in this group, until the friendship holding it together begins to fracture under the weight of envy.

La palabra dicha y dichosa

Filmed in his home in Paris one late summer, the philosopher and political figure Antonio Negri takes as a starting point a short story — a parable written by Marine Hugonnier — and transforms it into a political hypothesis. It is the story of a community of children who live in roofless houses in a world where two suns shine permanently. When an eclipse is about to take place, the children get scared. They are terrified as they do not know the darkness, they’ve never seen the stars. To cope with their fear, they decide to burn their houses to generate light. From there Antonio Negri weaves anecdotes, evokes Alexis de Tocqueville and Saint Francis of Assisi, protests against biopolitics and formalises arguments which reveal his unconditional engagement for activism, absolute democracy, the need to recreate communities, and his restless quest to find joy in the heart of “the multitude”.

A legendary Polish driver returns to take part in one of the most difficult car races in the world. Will Sobiesław Zasada win the next car race at 91?

Shot in Claude Monet’s Garden in Giverny (France) this film is a search for its cusp — a possible point of passage, set at the limit of the scope of representation and at the beginning of the animal and the vegetal realms. The film shows the microscopic ecosystem that constitutes Monet’s “pictorial Garden”. It is an attempt to capture it from a non-perspectival point of view. Shot as a single sequence running the duration of a 400-foot reel, it features views of the edges of water-lily’s leaves and of Monet’s iconic green bridge, until the lens of the camera is intentionally removed to place the analogue film directly in contact with the environment, recording its presence with no interface. The abstract image resulting from this process captures the shimmering lights and movements of all beings during this quiet summer night.

Full moon above the city of Paris. A young man crosses the city neighborhoods on his bike, when elsewhere a group of distinguished young people that seem to come from another planet, stroll, smoke and chat.

Divadlo Svoboda

A high school editor loses all the footage of a film. As deadlines close in, the crew spirals into chaos. This is a film about making a film and learning the cost of finishing a movie.

Trafačka: Chrám svobody

Řepka: Hříšník

The story of a young woman entering the world of filmmaking as assistant director to Bilge Olgaç and the two years they worked together. Through her diary, Belmin Söylemez explores what she learned from Bilge Olgaç, the most productive woman director in the history of Turkish Cinema. The film also gives us clues on filmmaking in Turkey in the late 80’s. From tough shooting conditions to 35 mm editing, we discover Olgaç’s world through her assistant’s eyes. ‘Bilge and Her Apprentice’ pays tribute to the life and work of Bilge Olgaç, who passed away in 1994.