Inner Spaces II
Venue: GOA SCIENCE CENTER
Date: 19 NovemberTime: 16:30 – 18:30
Ya’Ir Gabriel Magall | Germany
A young man parks his car on the roadside. He walks into the desert and finds a place that is so quiet that he can feel himself again. His soul is dancing and the protagonist embarks on a poetic journey to himself. Epic landscapes and touching dance scenes take the audience into the enchanted world of the soul.
Tags: Experimental, Feature, Short
They Are There But I Am Not
Ye Mimi | Taiwan
We experience a lot of poems as a record of real life. Through the specific Taiwanese backdrop, this poetry film illustrates a series of moments to approach the concept of time, which is not as concrete as we are taught it is. As a poet, the filmmaker presents her ideas on the nature of reality, existence, what is there and what is not there.
Memories of you
Bart Schrijver | Netherlands
An old man has build five theater stages in a large warehouse. Now he looks at the reenactment of the most beautiful memories of his life, so he can feel like he did when his wife was still alive.
Tags: Short, Romance, Drama, Fantasy
The Night of All Things
Valérie Delpierre | Spain
Joana, a seven-year-old girl, lives in a house close to a little village in Cataluña, where her grandfather runs a small antiques business. The shop is a huge warehouse, full of dark corridors and dusty corners, where objects wait to be bought, as forgotten by life. Joana spends her days by the warehouse, while she waits for her mother to recover from an illness that has kept her in bed for a long time. Her grandfather is her only company and she has become a silent, shy girl, trying to understand the world surrounding her. Overwhelmed by the place she lives in, Joana sees the objects in the warehouse—old tables, jars, beds, books, pictures, paintings, used shoes and clothes— as vestiges of past lives, buried by time and oblivion, and she realizes that her mother, along with her belongings, her feelings, her love, will soon become a memory too. This is a film about absences and sadness, but also about our memories, and how these are all we are. A reflection on what we leave behind us: what is forgotten and what remains, what time erases and what lasts forever in the memory of those who loved us.
Aditya Pawar | India
A female actor enacts two iconic scenes of Robert De Niro in a makeup room. Everyday we wake out of our dream and slowly come into consciousness by recollecting our yesterday, our past and what we are going to do today. This consciousness becomes even more real when we look into the mirror. In this mirror, for the first time, we acknowledge our reflection as ‘I’ – an illusion we are convinced is real. This illusion we see everyday, only getting older but seems to be the same face. And everyday we take this illusion into the world and play a role like an actor and perform our part on this stage called life. Consider the ACTRESS a ‘him’ instead of ‘her’ in this story. Imagine the metaphor of a female as a man in front of a mirror. This actor enters a makeup room. He starts talking to himself and out of nowhere he acts as Travis Bickle from Taxi Driver when he looks at himself in the mirror and says the famous dialogue “you talking at me?” After the Travis performance we see him again transform into the person he was when he entered. He looks around the desk and finds his cigarette. This time we see this actor enact Jake LaMotta from the film Raging Bull, the last scene when Jake is looks at himself in the mirror and recites Marlon Brando’s Waterfront scene. He becomes himself again and starts putting on his make up. He takes a paper out of his pocket and looks at it very carefully. He tries to memorize the lines, looks into the mirror and sitting very calmly on the chair he recites a poem as follows. I asked “Do you really exist?” And you replied “Yes, I am Truth”. He repeats it with more concentration and this time the mirror itself replies to him in a different tone, “Yes, I am Truth” A brief silence. The door behind opens and an assistant director enters. He asks him if he has rehearsed the dialogues and the actor says yes. The actor looks straight at the assistant and gives the most advertising product window line ever. He delivers the lines in two variations. The assistant chooses the second variation and asks him to get his make up done quickly because the shot is ready. The actor says OK and the assistant exits. The film ends with the actor looking at us through the mirror.
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