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1-17 of 17
- My father immortalized in family films the most beautiful moments of his life, while my mother's difficulties hit the blind spot of his images. Today, I revisit these images to tell a different story: that of a woman who sees her role as a mother take away her freedom step by step.
- The first cultural act of Mozambique's government right after independence, in 1975, was creating the National Institute of Cinema [NIC]. The new President, Samora Machel, had a strong conscience of the cinematic potential while creating an image for a new socialist nation. All over the country, cinema road units were screening NIC's most popular production, a newsreel untitled Kuxa Kanema, which means The Birth of Cinema. People's Republic of Mozambique became the Republic of Mozambique and NIC, once a great enterprise, was reduced to abandoned rooms and corridors, where the staff stood patiently waiting for retirement. The building was destroyed by a fire back in 1991, and the visual documents that witness the first eleven years of independence - the years of the socialist revolution - were rotting in an out-building, and about to be forgotten. From these and other living testimonies, we will recover the path of a nation's ideal, which has fallen apart, day by day, together with "one cinema for the people", and with the dreams from those who believed that Mozambique could one day become a different country.
- Julia Clever's grandfather was a member of the German army in WWII. She uses family videos and items found after his death to explain her family's shame, while revealing that he may have acted, in small ways, against Hitler's regime.
- Offers 2 films by S.D.: almost 40 years separate the making of "Trixi" from that of "The Sun and the Moon". Both works, using different technologies, feature the same performer, Beatrice Cordua. One was made on film and the other on video.
- Galician writer Xavier Queipo is getting ready to move back to his homeland after more than 30 years of living in Brussels. He empties his house and puts his memories in boxes the removal company loads onto their truck to take them to Spain. Another Galician man, the filmmaker Hugo Amoedo, who is based in Brussels, too, wonders whether and when he'll be back in his homeland. In the meantime, he teaches his son to ride a bike, wonders, dreams, struggles to unravel ideas for films, and argues with the clerks of the Brussels post.