Pictures of Ghosts

The veiled story of Japanese diaspora in Mexico and the endurable impact of historic silence in its descendants is portrayed through testimonies and an exploration of landscape and choreography, questioning the formation and theatricality of individual and collective identity. When everything that's left of history are memories, how are invisible wounds healed? Yurei goes through different zones in Mexico towards an exploration of memory.

Structured as a labyrinth-like game and inspired by Jorge Luis Borges, Aleph is a travelogue of experience, a dreamer's journey through the lives, experiences, stories and musings of protagonists spanning ten countries and five continents.

Idak-Idak-Idak is a hybrid-documentary relating the stolen Lombok Treasures with the Sasak diaspora through three generations of women: a daughter, her mother, and her grandmother. Blending full-spectrum cinematography with personal footage, this film moves between Indonesia and the Netherlands to examine colonial legacies, displacement and healing the heart of home. In Sasak, "Idak" can be interpreted as both “heart” and “absence”, becoming a container for memory, loss, and the unseen layers of the self between generations.

Farmers in the Île-de-France region, they filmed life on the farm, working in the fields, and family and village celebrations on 8 mm or Super 8 film. From the 1950s to the 1980s, these testimonies unfold a history of rural life: we move away from a peasant and family model to industrial agriculture for export. Through these family images, I attempt to answer my own questions about our agricultural future. In the 1950s, the land of Île-de-France fed us.

Staged as a series of voiceover sessions, written with gloriously off-balanced precision and dipped in the color green, THE FUTURE TENSE unfolds as a poignant tale of tales, exploring the filmmakers’ own experiences in aging, parenting, mental illness, along with the brutal history that lies submerged beneath Ireland’s heavy, moist earth.

The amnion – the fetal membrane protecting the embryo – becomes a metaphor in the film for an intimate space where pain can be shared and a path to healing sought. This sensitive portrait of three women whose lives have been marked by sudden separation is carried from the outset by a meditative soundtrack that shapes an environment in which personal experience becomes expressible. Ritual gestures – traditional costumes, cooking together, hugging – create a protective shell that allows pain not only to be expressed and shared, but also transformed.

“Our memories are marked by smells. Bound together by their olfactory sensitivity, a daughter leads her father to question his family heritage: together they go through their double mourning, that of a grandmother and a childhood in Algeria. How do you face up to the fear of vanishing ghosts?”

Quem trocou as memórias de lugar

Nested Sequence

An elegy about ‘José Ð Almeida’s life and work. Along an intimate metamorphosis, this dreamlike and visually expressive world created by the visionary and insane dreamer is recreated and performed between a symbiosis of moving image, photography and painting- in a scenic, dramatic, symbolic and mystical tone.

This film is an attempt to disclose if Raul Brandão has left any trace, in Nespereira, Gumarães.

Sculpter la mémoire

Celebrating the splendor and grandeur of the great cinemas of the United States, built when movies were the acme of entertainment and the stories were larger than life, as were the venues designed to show them. The film also tracks the eventual decline of the palaces, through to today’s current preservation efforts. A tribute to America’s great art form and the great monuments created for audiences to enjoy them in.

Tan só o demo lembra

Paris, Latin Quarter. A small cinema that is both famous and marginal, Action Christine. The cashier has taken her camcorder and takes us to this public place, her workplace. Place of life, of passage, of meeting, a window open on the street, behind the hygienic phone, it is the daily life of the cashiers and the openers punctuated by the alternation of surging entrances and idle intersession.

A live telecast of the public memorial service for the king of pop, Michael Jackson.

In a nursing home, a young man visits his grandmother. As she constantly repeats that she wants to go home, his grandson visits her now empty apartment, seeking to capture memories of a fading past.

After a premonition of an unusual bird, a father loses his voice. His daughter undertakes a search to rediscover him, through an intimate narrative that explores the past, the new facets and the silences of a man who is no longer the same.

One day, as you leave work and head home, something unexpected happens. Everywhere you go, paths begin to open and multiply. You can go anywhere you want, and with each place you choose, a new version of yourself emerges. You begin to disappear and in that disappearance you feel free: no longer being one, but becoming another, becoming many others. Individual experience gives way to the collective. A constant search for a place in the world. Walking toward the other, toward the unknown—yesterday, today, and tomorrow.

Las Preguntas que Perdimos