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DTSTART;TZID=America/New_York:20261006T180000
DTEND;TZID=America/New_York:20261006T210000
DTSTAMP:20260923T171327Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260923T171327Z
UID:21403-1791309600-1791320400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Bardi with Tala Hadid in Person
DESCRIPTION:Please join the Film Study Center\, in collaboration with the Sensory Ethnography Lab\, for a special screening and conversation with Tala Hadid  and her new film Bardi\, which is premiering at the New York Film Festival.\n \nFilmmaker and photographer Tala Hadid immersed herself in the rugged\, fraternal world of a group of horse-riders in central Morocco for this visually rapturous work that merges portraiture and fabulation. With thrilling camerawork\, Hadid accompanies the men as they take part in Tbourida\, an equestrian military ritual that dates to the 16th century and allows them to transform into new personas. As the itinerant group rides across the country\, Hadid captures with a mix of intimacy and epic grandeur their geographically expansive yet emotionally enclosed universe\, with its codes of behavior and fully embodied performances of masculinity. Hadid\, whose previous films include the short Your Dark Hair Ihsan (NYFF43) and the feature House in the Fields\, about the Amazigh of Morocco\, is fascinated with how people within communities encounter tradition\, myth\, and the self; Bardi is a majestic work of earthy imagination that transcends time and landscape.  – New York Film Festival\n \nTala Hadid is a photographer and filmmaker and made her first feature documentary film\, Sacred Poet\, on the italian poet and filmmaker Pier Paolo Pasolini. Her films have screened at film festivals around the world\, including Berlin and Venice and shown\, among other venues\, at the MoMA and Lincoln Center in NYC\, The Walker Arts Center in Minneapolis\, La Cinémathèque Française in Paris\, the Smithsonian Museum\, the National Museum of Women in the Arts in Washington D.C\, the Los Angeles County Museum and the Photographer’s Gallery in London. Her films have received numerous awards\, including a student Oscar from the Academy of Motion Picture Arts and Sciences. In 2013\, the Fine Art photography publisher Stern published a volume of a selection of Hadid’s photographs from her project Heterotopia as part of its Stern Fotografie Portfolio series of emerging photographers. In 2014\, Hadid completed work on Itarr el Layl. The award-winning film premiered at the Toronto film Festival and went on to screen at numerous film festivals and venues around the world\, including the Lincoln Center in New York\, the Rome Film Festival\, and the London Film Festival. In 2017\, Hadid’s project House in the Fields was an official selection at the Berlin Film Festival where it was nominated for the Glashütte Original Documentary Award. The film was also the recipient\, among other prizes\, of the Commune di Milano prize for best feature film at the 2017 FCAAL Milano Film Festival\, the Prize for Best Documentary film at the Hong Kong International Film Festival\, the Fiction/Non Fiction award at Millennium Docs against Gravity in Warsaw\, the 2M Grand Prize at FIDADOC 2017\, the 2017 John Marshall Award in the US\, the Special Jury Prize at the 2018 National Film Festival in Tangiers\, and the Grand Prize of the city at the 2018 International Mediterranean Film Festival of Tetouan. In 2019 Hadid worked on a permanent video installation at the Qatar National Museum by architect Jean Nouvel. In the same year she participated in the 2019 Rabat Biennale with her installation entitled Floodplain. In 2025 and 2026 Hadid served as a visiting faculty member in the department of Art\, Film and Visual Studies at Harvard University. Her photo and video installation Sphere\, created in collaboration with choreographer Bouchra Ouizguen\, will premiere at the Menagerie de Verre as part of the Festival d’Automne in Paris in winter 2026. Her new feature film\, Bardi\, is forthcoming. Hadid’s work is included in the Ruben Bentsov Moving Image Collection at the Walker Museum. She is a member of the Academy of Motion Picture Arts and Sciences. \n\n\n\n\nimage: still from Bardi \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-bardi-with-tala-hadid-in-person/
LOCATION:Carpenter Center Theater\, CCVA\, level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Stallionn©-Tala-Hadid-2026-scaled-e1790183600164.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260409T180000
DTEND;TZID=America/New_York:20260409T210000
DTSTAMP:20260401T160433Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260401T160433Z
UID:21107-1775757600-1775768400@filmstudycenter.fas.harvard.edu
SUMMARY:The Dutchman: Screening and Conversation
DESCRIPTION:Please join ArtsThursdays\, the Film Study Center\, and the Black Film Project of the Hutchins Center for African & African American Research for a special screening of The Dutchman with director\, producer\, and co-writer Andre Gaines. \nThe Dutchman features Black Film Project fellow André Holland as a successful black businessman who\, haunted by an identity crisis and his crumbling marriage\, is drawn into a sexualized game of cat and mouse with a mysterious white woman on a subway\, leading to a violent conclusion. \nAndre Gaines is a two-time Emmy®-nominated producer\, writer and director. Through his company Cinemation Studios\, Gaines has produced and financed an extensive number of documentary and narrative films\, including The Lady and the Dale on HBO\, Stephen King’s Children of the Corn reboot\, and The One and Only Dick Gregory on Showtime. Gaines made his feature film directorial debut with The Dutchman\, an adaptation of Amiri Baraka’s Obie Award winning 1964 play. The Dutchman premiered at the SXSW Film & TV Festival and Cannes film market. \nAndré Holland is an acclaimed actor\, theater director\, and film producer. He produced and starred in High Flying Bird\, The Eddy\, Exhibiting Forgiveness and the Sundance-premiered Love\, Brooklyn. Known for his roles in Moonlight and Selma\, Holland has also appeared on Broadway in Jitney and Joe Turner’s Come and Gone. \nThis event is co-presented by the Film Study Center at Harvard University\, The Hutchins Center\, and ArtsThursdays\, a university-wide initiative supported by Harvard University Committee on the Arts (HUCA). \n\nimage: still from The Dutchman \n 
URL:https://filmstudycenter.fas.harvard.edu/event/the-dutchman-screening-and-conversation/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/dutchman_image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260304T190000
DTEND;TZID=America/New_York:20260304T210000
DTSTAMP:20260224T003251Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260224T003251Z
UID:21116-1772650800-1772658000@filmstudycenter.fas.harvard.edu
SUMMARY:Film Screening: Ali Cherri in person
DESCRIPTION:This year’s Gardner FSC Fellow\, acclaimed artist and filmmaker Ali Cherri\, will present and discuss his film work at the Carpenter Center for the Visual Arts\, hosted by the Film Study Center. Exploring different geographies of violence in his native Lebanon but also in the broader region\, Ali Cherri is a Paris-based artist with three decades of artistic practice spanning across film\, performance\, sculpture\, drawing\, and installations\, interrogating the ways in which political violence disseminates into people’s bodies and the physical and cultural landscape. Shaped by the vibrant artistic scene of postwar Beirut in the 1990s\, Cherri began to investigate the sensorial coproduction of reality between images of conflict\, the urban fabric and his own body. \nThe Dam\nDirected by Ali Cherri\, 84 min\, 2022 \nSudan\, near the Merowe dam. Maher works in a traditional brickyard fed by the waters of the Nile. Every evening\, he secretly wanders off into the desert to build a mysterious construction made of mud. While the Sudanese people rise to claim their freedom\, his creation starts to take a life of its own… \nAdmission is free \n\nCo-sponsored with the Carpenter Center for Visual Arts
URL:https://filmstudycenter.fas.harvard.edu/event/film-screening-ali-cherri-in-person/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Ali-Cherri-The-Dam-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260223T190000
DTEND;TZID=America/New_York:20260223T210000
DTSTAMP:20260108T192827Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260108T192827Z
UID:21091-1771873200-1771880400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Coconut Head Generation with Alain Kassanda in Person
DESCRIPTION:Coconut Head Generation\nDirector in Person\n$15 Special Event Tickets\nDirected by Alain Kassanda.\nFrance/Nigeria\, 2023\, DCP\, color\, 89 min.\nEnglish\, Yoruba and French with English subtitles.\nDCP source: Icarus Films \nAs modestly radical as the people it follows\, Kassanda’s feature begins at the “Thursday Film Series\,” a cinema club held by students at the University of Ibadan in Nigeria. Screening works by the likes of Hondo\, Sembene and the Black Audio Film Collective\, the energized students quickly transcend the title’s dismissive moniker given to them by the older generation and engage in respectfully fierce debates about a range of issues—unemployment\, neocolonialism\, feminism—spurred by the screenings. Allowing unfolding events guide its content and format\, Kassanda adapts to surprising upsets which include the university’s union strike\, itself soon swept up in the larger #EndSARS movement denouncing police brutality and government ineptitude\, followed shortly by its bloody suppression. Amid challenging conditions\, the students respond to systems that continually fail them through non-hierarchical\, thoughtful organizing. Kassanda not only documents but participates in bringing cinema to life through compassionate\, inspired action. \nOrder Tickets: The Harvard Film Archive
URL:https://filmstudycenter.fas.harvard.edu/event/screening-coconut-head-generation-with-alain-kassanda-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Coconut-Head-Generation_still-6_Courtesy-Icarus-Films-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260221T190000
DTEND;TZID=America/New_York:20260221T210000
DTSTAMP:20260108T192929Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260108T192929Z
UID:21089-1771700400-1771707600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Colette et Justin with Alain Kassanda in Person
DESCRIPTION:Colette et Justin\nDirector in Person\n$15 Special Event Tickets\nDirected by Alain Kassanda.\nFrance/Belgium \, 2022\, DCP\, color and b&w\, 89 min.\nFrench and Lingala with English subtitles.\nDCP source: Icarus Films \nKassanda’s first feature-length documentary stars his grandparents who lived through Belgium’s colonization and later worked at the forefront of Congolese independence. Within this dense personal archaeology and much-needed historical corrective\, the filmmaker poetically sifts through the complications and incongruities of lives under white\, western rule—using the oppressor’s own visual archive (since the colonized were not allowed to photographically document) in a delicate dance between revelatory reappropriation and traumatic re-exposure. While decoding staged productions and exposing incriminating documents\, Kassanda searches for the remains of a stolen culture and reveals a violent\, racist power structure that continues to reverberate in modern-day Kinshasa and the diaspora beyond. Meanwhile\, his grandfather\, educated and urged to excel within a rigged system\, had joined the swelling wave of citizens—including colleague Patrice Lumumba—outgrowing their circumscribed roles and visualizing a free nation. As Justin’s unexpected disclosures reveal\, breaking from patriarchy is not without great sacrifice\, and Kassanda openly wrestles with this troubling dissonance. \nOrder Tickets: The Harvard Film Archive
URL:https://filmstudycenter.fas.harvard.edu/event/screening-colette-et-justin-with-alain-kassanda-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2026/01/COLETTE-AND-JUSTIN_Courtesy-Icarus-Films_STILL-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251113T180000
DTEND;TZID=America/New_York:20251113T210000
DTSTAMP:20260511T203412Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260511T203412Z
UID:20910-1763056800-1763067600@filmstudycenter.fas.harvard.edu
SUMMARY:Films from the Film Study Center: Screening and Conversation
DESCRIPTION:Please join us\, in partnership with ArtsThursdays\, for a special screening of short films by Darol Olu Kae\, Kendra McLaughlin\, Tiff Rekem\, and Svetlana Romanova—current fellows at the Film Study Center at Harvard. Following the screening\, the filmmakers will participate in a conversation with Dennis Lim\, Artistic Director of the New York Film Festival. \nTiff Rekem\nTrilogy (working title)\, 2026\, work in progress\, 15 min\nTen years ago\, prominent director of Taiwan popular cinema Wei Te-sheng (魏德聖) set out to make three historical epics set during the little-known 17th-century Dutch colonial period in Taiwan — until the production fell apart\, unfinished\, in 2025. This project refashions the visual and sonic traces of the Taiwan Trilogy into an alternative historical period piece that\, during a time of rising nationalism in Taiwan\, observes the construction of cinema as the construction of a national identity. A work in progress. \nKendra McLaughlin\nLo que las olas no rompen (What the Waves Don’t Break)\, 2026\, work in progress\, 12min 30s\nAlong Lima’s southern coast\, men fish\, camels eat\, and life cycles through death and back again. \nSvetlana Romanova\nHinkelten\, 2023\, Russia\, 15 min\nFilmed in the Yakutian Arctic and constructed out of personal poems and notes\, this visual essay poses questions about our perception of contemporaneity and image production’s intersection with the creation of narratives around the idea of love (romantic\, platonic\, intimate\, and maternal). \nDarol Olu Kae\nKeeping Time\, 2023\, USA\, 32 min\nKeeping Time is a kaleidoscopic audiovisual homage to musicians who pass on the magic and the communities that nourish them. \nThe only Center devoted to artistic practice at Harvard\, since its inception in 1957 the Film Study Center has been at the forefront of nonfiction filmmaking. Its annual fellows have made original and innovative contributions to contemporary media practice:  in analogue and digital filmmaking\, moving image practices between the gallery and the theater\, sensory ethnography\, phonography\, and more recently the hybrid landscape that probes the border between fiction and nonfiction. A major presence at international film festivals\, the works produced in the FSC have shapeshifted over the seventy years of its history\, and many of them are now considered pioneering landmarks of their time.  The FSC is considered to be one of the most important international hubs for the creation of emerging and experimental forms of cutting-edge cinema and related media. \n\n\nThis event is co-presented by the Film Study Center at Harvard University and ArtsThursdays\, a university-wide initiative supported by Harvard University Committee on the Arts (HUCA). \n\n  \nimage: Still from Lo que las olas no rompen by Kendra McLaughlin
URL:https://filmstudycenter.fas.harvard.edu/event/films-from-the-film-study-center/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/png:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/09/Lo-que-las-olas-no-rompen_FSC_still-7-e1758291805869.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251001T180000
DTEND;TZID=America/New_York:20251001T193000
DTSTAMP:20250919T141643Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250919T141643Z
UID:20918-1759341600-1759347000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Fragments for Venus with Alice Diop in person
DESCRIPTION:We are excited to welcome Gardner FSC fellow Alice Diop back to Harvard to screen her new short film Fragments for Venus (France/Italy\, 2025\, 21 minutes)\, which premiered at the Venice Film Festival and New York Film Festival. FSC -Harvard fellow Kendra McLaughlin worked as a cinematographer on the film. \n“Continuing the meditations that shaped Saint Omer (NYFF60)\, Alice Diop’s new short indexes centuries-old artistic representation in the Louvre before observing womanhood on the streets of contemporary New York. Running between refined and loose—Miu Miu costumes complement quotidian streetwear while the museum’s silent halls are juxtaposed with metropolitan clamor—Fragments for Venus poses difficult questions while celebrating everyday living’s basic pleasures.”  – New York Film Festival
URL:https://filmstudycenter.fas.harvard.edu/event/screening-fragments-for-venus-with-alice-diop-in-person/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Fragements-for-Venus.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250923T150000
DTEND;TZID=America/New_York:20250923T163000
DTSTAMP:20251006T155025Z
CREATED:20250108T192832Z
LAST-MODIFIED:20251006T155025Z
UID:20983-1758639600-1758645000@filmstudycenter.fas.harvard.edu
SUMMARY:HFA tour & Research Info Session
DESCRIPTION:To welcome new students\, staff\, faculty\, and artists in the AFVS\, FSC\, and CMP community\, please join us for an introduction to the Harvard Film Archive focused on the HFA’s collection. We’ll go over how to find material and arrange use for classroom screenings\, individual research\, and filmmaking projects. This informal tour & information session is open to all who are interested. \nWHEN: Tuesday\, September 23\, 2025 from 3:00 to 4:00pm\, with optional time for more focused questions from 4:00 to 4:30pm. \nWHERE: We’ll meet on the lower level of the Carpenter Center at the bottom of the stairs / in front of the theater. \nAGENDA: We’ll start with a short tour of the HFA collection spaces in the Carpenter Center and then move into CCVA classroom B-04 for an introduction to the collections\, focusing on how to locate material and request and arrange use for your classes and projects. \nFeel free to join for all or part of the event\, and if you can’t make it but are interested in learning more about the HFA\, please reach out to HFA collections archivist Amy Sloper.
URL:https://filmstudycenter.fas.harvard.edu/event/hfa-tour-research-info-session/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/10/IMG_7428-scaled-e1759765105233.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250417T180000
DTEND;TZID=America/New_York:20250417T210000
DTSTAMP:20251113T163907Z
CREATED:20250108T192832Z
LAST-MODIFIED:20251113T163907Z
UID:20662-1744912800-1744923600@filmstudycenter.fas.harvard.edu
SUMMARY:The Ideal Cinematheque of the Outskirts of the World: Alice Diop\, with Amélie Galli
DESCRIPTION:Alice Diop\, the filmmaker behind groundbreaking films such as We (Nous\, 2021) and Saint Omer (2022)\, launched in 2020 The Ideal Cinematheque of the Outskirts of the World (La Cinémathèque Idéale des Banlieues du Monde)\, collecting and screening films that are formally and politically committed to exploring the urban peripheries of the great city capitals\, places that are often violently portrayed and appropriated but rarely have a chance to show their own images on their own terms. As Diop puts it\, the Ideal Cinematheque’s work of collecting and assembling representative films raises central questions: “In the periphery\, where buildings appear and disappear to the beat of human experiences and urban developments\, in a cycle that could seem infinite\, cinema represents heritage that nowadays must be revealed\, saved and shared. This parallel history of cinema is a continuous flow of erasure and disappearances. The challenge is also to question the logic of our fields of meaning\, in the critical relationship to works and their reception. What is a filmmaker or a film ‘from the periphery’? Which stories fall under this category?”\n \n\nFor this iteration of The Ideal Cinematheque of the Outskirts of the World at Harvard\, Diop\, alongside the Cinematheque programmer Amélie Galli\, will present two films by Virgil Vernier: the short Kindertotenlieder (2021) and the feature 100\,000\,000\,000\,000 (100 000 Milliards\, 2024) preceded by one of the seminal works for the Cinematheque\, Love Exists (L’amour existe\, 1960) by Maurice Pialat. Diop and Galli will present and discuss the Cinematheque and its work at the screening. \n  \n\nLove Exists (L’amour existe)\nMaurice Pialat\nFrance\, 1960\, 21 min.\nA contemplative and poetic short film that depicts the grayness of life and the monotony in the suburbs of Paris at the eve pf the 60s. But hope for social change remains. \nKindertotenlieder\nVirgil Vernier\nFrance\, 2021\, 27 min.\nThrough television news bulletins\, Kindertotenlieder revisits the 2005 riots in France\, sparked by the deaths of two teenagers from the Parisian banlieue of Clichy-sur-Bois\, who were killed during a police chase. Here\, the static formal conventions of TV news—vox pop interviews\, B-roll of burning cars\, outraged neighbors—slowly reveal a subtler narrative beneath the surface: one of neglect\, oppression\, ethnic and class divisions. \n100\,000\,000\,000\,000 (100 000 Milliards)\nVirgil Vernier\nFrance\, 2024\, 77 min.\nZakaria Bouti\, Mina Gajovic\, Victoire Song\nThey stayed up all night talking in Julia’s room. She told him about palaces\, castles\, diamonds\, and all the gold she had seen. She told him about what happened after death. Afine listened without saying a word\, dazzled by all these things he had never heard of before. \nThis event is co-presented by the Film Study Center at Harvard University and ArtsThursdays\, a university-wide initiative supported by Harvard University Committee on the Arts (HUCA).
URL:https://filmstudycenter.fas.harvard.edu/event/the-ideal-cinematheque-of-the-outskirts-of-the-world-alice-diop-with-amelie-galli/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/100-000-Milliards-Virgil-Vernier-2024-Petit-Film-5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250416T180000
DTEND;TZID=America/New_York:20250416T210000
DTSTAMP:20250410T180113Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250410T180113Z
UID:20776-1744826400-1744837200@filmstudycenter.fas.harvard.edu
SUMMARY:Contemporary Moving Image Practices: Helena Wittmann
DESCRIPTION:In partnership with Contemporary Moving Image Practices\, the Film Study Center is delighted to host filmmaker Helena Wittmann. Please join us for a screening and talk with Witteman who will present her film\, Human Flowers of Flesh (2022\, 106 min.) \n\nHelena Wittmann’s second feature\, Human Flowers of Flesh\, sails out to the Mediterranean Sea on a small boat chartered by the stoic\, determined Ida (Angeliki Papoulia). The specifics of her crew’s mission are ambiguous\, but they are driven by an unequivocal need to search and question; the anthropologist at the heart of Wittmann’s debut feature\, Drift (2017)\, takes to the sea with a similarly all-consuming yearning. To that end\, Human Flowers is a powerfully sensory experience\, at one point plunging us into a literal deep-sea-dive sequence into the unknown. \nWithout academic pretensions\, the film meditates on the nature of physicality\, time\, consciousness\, and even the porousness of cultural borders; according to Wittmann\, the film originated with her futile attempt to make eye contact with a member of the French Foreign Legion at a base in Marseille\, which also shapes Ida’s wanderings. Immersions in nature sit alongside quotations from Marguerite Duras or Claire Denis\, which delicately expand on the original texts—most spectacularly when the specter of Beau Travail (1999) is invoked by a cameo from Denis Lavant\, in character as Galoup. These affective collages are something of an invitation: Wittmann seems to propose that the life of a work of art can only begin when it reaches the viewer\, open to its mysteries\, willing to traverse its open waters. – Chloe Lizotte\, Metrograph \nThis event is co-presented by Contemporary Moving Image Practices and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/contemporary-moving-image-practices-helena-wittmann/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/HFOF_Still_07.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250402T180000
DTEND;TZID=America/New_York:20250402T210000
DTSTAMP:20250320T222932Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250320T222932Z
UID:20756-1743616800-1743627600@filmstudycenter.fas.harvard.edu
SUMMARY:Contemporary Moving Image Practices: Adam Khalil
DESCRIPTION:In partnership with Contemporary Moving Image Practices\, the Film Study Center is delighted to host filmmaker Adam Khalil. Please join us for a screening and talk with Khalil who will present Endless Acknowledgment (2021\, 3 min.)\, Never Settle: The Program (2020\, 55 min.)\, and Give it Back: Crimes Against Reality (2024\, 34 min.). \n\nAdam Khalil\, a member of the Ojibway tribe\, is a filmmaker and artist from Sault Ste. Marie\, Michigan\, whose practice attempts to subvert traditional forms of ethnography through humor\, relation\, and transgression. Khalil is a core contributor to New Red Order and a co-founder of COUSINS Collective. Khalil’s work has been exhibited at the Museum of Modern Art\, Sundance Film Festival\, Walker Arts Center\, Lincoln Center\, Tate Modern\, HKW\, Museum of Contemporary Art Detroit\, Toronto Biennial 2019 and Whitney Biennial 2019\, among other institutions. Khalil is the recipient of various fellowships and grants\, including but not limited to a 2021 Creative Capital Award\, Sundance Art of Nonfiction\, Jerome Artist Fellowship\, Cinereach and the Gates Millennium Scholarship. \nThis event is co-presented by Contemporary Moving Image Practices and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/contemporary-moving-image-practices-adam-khalil/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/endless_acknowledgment_stills_2-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250331T190000
DTEND;TZID=America/New_York:20250331T220000
DTSTAMP:20251113T163930Z
CREATED:20250305T192832Z
LAST-MODIFIED:20251113T163930Z
UID:20743-1743447600-1743458400@filmstudycenter.fas.harvard.edu
SUMMARY:"Afternoons of Solitude" with Albert Serra in person
DESCRIPTION:Afternoons of Solitude\n(Tardes de soledad)\nDirected by Albert Serra.\nFrance/Portugal/Spain\, 2024\, DCP\, color\, 125 min.\nSpanish with English subtitles.\nDCP source: Grasshopper Films \nA cherished project long in the making\, Serra’s observational documentary follows\, with structural precision\, the full length of a traditional corrida fought by Spain’s most celebrated toreador\, the Peruvian Andrés Roca Rey. Using almost exclusively close-up cameras and wired microphones that capture the every word and breath of the toreador and the bull alike\, Tardes de soledad plunges the viewer into the ring to offer a startling\, and ultimately salubrious\, response to the woeful trend of contemporary documentary in which ever more “dangerous” and edgy subjects are designed as somehow more real and authentic\, a trend partially ascribed\, locally\, to Harvard’s own Sensory Ethnography Lab. \nTickets: https://harvardfilmarchive.org/calendar/afternoons-of-solitude-2025-04
URL:https://filmstudycenter.fas.harvard.edu/event/afternoons-of-solitude-with-albert-serra-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/03/afternoonsofsolitude_01-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250329T190000
DTEND;TZID=America/New_York:20250329T220000
DTSTAMP:20250306T185626Z
CREATED:20250305T192832Z
LAST-MODIFIED:20250306T185626Z
UID:20740-1743274800-1743285600@filmstudycenter.fas.harvard.edu
SUMMARY:"Story of My Death" with Albert Serra in person
DESCRIPTION:Story of My Death\n(Història de la meva mort)\nDirector in Person\nScreening on Film\n$15 Special Event Tickets\nDirected by Albert Serra.\nWith Vicenç Altaió\, Lluís Serrat\, Eliseu Huertas.\nSpain/France/Romania\, 2013\, 35mm\, color\, 148 min.\nCatalan with English subtitles.\nPrint source: HFA \nThe spirit of Warhol’s stylized genre-bending collaborations with the late Paul Morrissey infuses Serra’s lush and mournful imagination of an encounter between Giacomo Casanova and Count Dracula. Starring poet and Catalan art critic Vicenç Altaió as a voluble Casanova\, Story of My Death stages the meeting of the mythical figures as embodiments of distinct ideas of human desire and\, perhaps\, a charged metaphor for the passage from the Enlightenment to Romanticism. \nTickets: https://harvardfilmarchive.org/calendar/story-of-my-death-2025-03
URL:https://filmstudycenter.fas.harvard.edu/event/story-of-my-death-with-albert-serra-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/03/Story-of-My-Death-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250328T190000
DTEND;TZID=America/New_York:20250328T223000
DTSTAMP:20250306T185447Z
CREATED:20250305T192832Z
LAST-MODIFIED:20250306T185447Z
UID:20722-1743188400-1743201000@filmstudycenter.fas.harvard.edu
SUMMARY:"Pacifiction" with Albert Serra in person
DESCRIPTION:Pacifiction\nDirector in Person\n$15 Special Event Tickets\nDirected by Albert Serra.\nWith Benoît Magimel\, Pahoa Mahagafanau\, Marc Susini.\nFrance/Spain/Germany/Portugal/French Polynesia\, 2022\, DCP\, color\, 162 min.\nFrench\, English\, Polynesian and Portuguese with English subtitles.\nDCP source: Grasshopper Films \nSerra channeled the energy of New Hollywood paranoid thrillers such as Night Moves (1975) and The Conversation (1974) into a wonderfully rambling portrait of a well-intentioned but ultimately ineffectual French diplomat trying to deter a possible nuclear threat to the Polynesian islands. Shadows gradually emerge that shift the tone of Pacifiction; tropical Technicolor gives way to a creeping darkness that eventually engulfs the film. Once-prominent French star Benôit Magimel delivers a wonderful\, offbeat performance inflected with comic touches yet imbued with the melancholy of faded stardom. \nTickets: https://harvardfilmarchive.org/calendar/pacifiction-2025-03
URL:https://filmstudycenter.fas.harvard.edu/event/pacifiction-with-albert-serra-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Pacifiction-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250209T190000
DTEND;TZID=America/New_York:20250209T213000
DTSTAMP:20250122T200051Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250122T200051Z
UID:20639-1739127600-1739136600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Delphine's Prayers with Rosine Mbakam in Person
DESCRIPTION:Delphine’s Prayers\n(Les prières de Delphine)\nDirector in Person\n$15 Special Event Tickets\nDirected by Rosine Mbakam.\nBelgium/Cameroon \, 2021\, DCP\, color\, 90 min.\nFrench and Cameroon Pidgin with English subtitles.\nDCP source: Icarus Films\n\nAs with Chez jolie coiffure\, Delphine’s Prayers takes place in a single enclosed space with one woman at its center. Aside from the filmmaker’s presence\, Delphine is the sole star here. Sitting up casually in her bed\, she treats the experience like a video diary\, candidly and passionately relating her painful tale for the first time. Compelled by desperate circumstances into sex work and eventually marriage\, she describes a life besieged by poverty\, loss\, violence and trauma. Her confidante\, fellow Cameroonian Mbakam\, also immigrated to Belgium\, yet under very different circumstances. In their collaboration\, it is sometimes Delphine who directs\, signaling when to end for the day\, telling Mbakam to sit down\, “or I won’t be able to relax.” Not merely tragedy\, her saga is filled with heroic efforts to help others or to simply stay alive\, only to be met with rejection and further abuse from her family and fellow Cameroonians\, later by racist Europeans\, and now she sacrifices herself for her children’s needs\, while supporting family back home. In Mbakam’s film\, Delphine emerges as a defiant survivor and brave warrior\, telling her own story for others and praying for a better one for herself. “I am not dead\,” proclaims Delphine. “I’m still here. Now that I’m here\, I can bear witness.”\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-delphines-prayers-with-rosine-mbakam-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Delphines-Prayers.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250208T190000
DTEND;TZID=America/New_York:20250208T213000
DTSTAMP:20250109T224003Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T224003Z
UID:20636-1739041200-1739050200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Mambar Pierrette with Rosine Mbakam in Person
DESCRIPTION:Mambar Pierrette\nDirector in Person\nDirected by Rosine Mbakam.\nWith With Pierrette Aboheu Njeuthat\, Marguerite Mbakop\, Duval Franklin Nwodu Chinedu.\nBelgium/Cameroon/France\, 2023\, DCP\, color\, 93 min.\nFrench with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\n\n\n\n\nLingering in a convincing documentary-like state\, Mbakam’s latest feature is an extraordinary\, mesmerizing portrait of an independent\, single Cameroonian woman raising two young children\, running a sewing business and caring for her elderly mother. Despite her sought-after skills as a creative seamstress\, she struggles to make ends meet. At times resembling a contemporary Jeanne Dielman\, the film carefully details her tasks at work and home\, the constant monetary and social negotiations\, incremental disasters and setbacks\, acts of political resistance\, moments of connection and release—all woven seamlessly into the complex fabric of her daily existence. Reminiscent of the manifold roles Chez jolie coiffure’s Sabine plays in her community\, Pierrette is mother\, businesswoman\, friend and also humble recipient of others’ support. There are no sweeping acts of valor or weighty moments of self-actualization\, yet by the end\, the undaunted Pierrette has earned heroic status—made even more so upon learning that she\, along with most of the cast\, is played by a nonprofessional actor. One of Pierrette’s friends notes\, “You look like you have all of Cameroon’s cares on your shoulders.” Indeed\, the same could be said for the filmmaker\, who seems to have meticulously folded every one of those cares into this smoldering\, inconspicuous tour de force.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mambar-pierrette/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Mambar-Pierrette-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250204T183000
DTEND;TZID=America/New_York:20250204T210000
DTSTAMP:20250122T195924Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250122T195924Z
UID:20652-1738693800-1738702800@filmstudycenter.fas.harvard.edu
SUMMARY:Unclaimed Experience: a night of film and video\, curated by Sara Jordenö
DESCRIPTION:From the personal to the necropolitical\, the artists in this program grapple with their own position as witnesses and the camera apparatus\, the emulsion on the celluloid film strip\, subtitles\, video and audio signals as fickle and elusive\, yet powerful\, forms of evidence\, while simultaneously embracing the relationship between sensing and making sense. \nFilms and Videos by Louise Bourque\, Africanus Okokon\, Kathryn Ramey\, Evelyn Cao\, Bryan Parcival\, Runo Lagomarsino\, Behjat Omer Abdulla\, Carlos Motta\, and Tomonari Nishikawa. \nCo-presented by the AgX Film Collective and the Film Study Center \nPROGRAM: \nSelf Portrait Post Mortem (2002)\, Louise Bourque\, 35mm\, 2:30\nSongs on the Stairs (2024)\, Bryan Parcival\, video\, 4:00\nIt’s your turn\, doctor (2018)\, Behjat Omer Abdulla\, video\, 18:52\n.srt (2019)\, Africanus Okokon\, video\, 8:00\nEchoes 1: Drumbeats Out of Time (2024) \, Bryan Parcival\, video\, 0:30\nEchoes 2: Bedtime (2024)\, Bryan Parcival\, video\, 0:30\nThe Passenger (2007)\, Kathryn Ramey\, 16mm\, 17:00\nEchoes 3: The Science Club (2024)\, Bryan Parcival\, video\, 0:30\nEchoes 4: Slices of Life\, Bryan Parcival\, video\, 1:00\nTheo by the Sea\, Evelyn Cao\, video\, 4:00\nEchoes 5: The Summoning Ritual (2024)\, Bryan Parcival\, video\, 0:30\nEchoes 6: Any Colour You Like (2024)\, Bryan Parcival\, video\, 1:30\nEchoes 7: Stormy Sea (2024)\, Bryan Parcival\, video\, 2:30\nFissures (1999)\, Louise Bourque\, 16mm\, 2:30\nEchoes 8: It’s 2:37 (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 9: Foos For Thought (2024). Bryan Parcival\, video\, 0:30\nResistance and Repression (2010)\, Carlos Motta\, video\, 4:35\nEuropa Point (2019)\, Runo Lagomarsino\, video\, 4:39\nEchoes 10: Room with a View (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 11: Baptism (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 12: Same Song\, Second Verse (2024)\, Bryan Parcival\, video\, 1:30\nsound of a million insects\, light of a thousand stars (2014)\, Tomonari Nishikawa\, 35mm\, 2:00 \nTOTAL RUNTIME: approx. 77m.\nProjection format as noted. \nFollowed by a panel discussion with Sara Jordenö (RISD)\, Bryan Parcival (Harvard/RISD)\, Alex Green (Harvard).
URL:https://filmstudycenter.fas.harvard.edu/event/unclaimed-experience-a-night-of-film-and-video-curated-by-sara-jordeno/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Bourque_16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241113T190000
DTEND;TZID=America/New_York:20241113T210000
DTSTAMP:20241105T153112Z
CREATED:20240912T182832Z
LAST-MODIFIED:20241105T153112Z
UID:20568-1731524400-1731531600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Users with Natalia Almada
DESCRIPTION:Users\nDirected by Natalia Almada\nUnited States\, Mexico\, 2022\, DCP\, color\, 81 min.\nEnglish; Spanish with English subtitles\n\nNatalia Almada will be in conversation with Tabitha Jackson (Shorenstein fellow spring ’24) after the screening\n\nUsers begins with a mother’s question–will my children love the perfect machines more than they love me\, their imperfect mother? She pushes the button\, and a smart crib lulls her crying baby to sleep\, flawlessly every time. This question guides her inquiry into the intimate relationship we have with technology that is increasingly driving all aspects of our society. We explore the unintended and often dehumanizing consequences of our society’s embedded belief that technological progress will lead to the betterment of humanity. Is technological progress inevitable? Are we all increasingly isolated? Do we really have agency to direct its course? Is technology an expression of our humanity or is technology destroying our humanity? The film will be a critical and intimate meditation on these questions.\n\nUsers traverses places ranging from the largest indoor vertical farm in the world to the perfect artificial wave\, from an IVF embryo lab to a fiber optic cable landing. Invisible infrastructure that we all rely on is made visible. Our reliance on machines and our alienation from each other is palatable. Urgent global issues like climate change and privacy are explored from the intimate perspective of a mother thinking\, worrying and loving her children. – Icarus Films\n\nThis event is co-presented by the Shorenstein Center and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-users-with-natalia-almada/
LOCATION:Carpenter Center Theater\, CCVA\, level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/Users-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241111T190000
DTEND;TZID=America/New_York:20241111T210000
DTSTAMP:20241105T153316Z
CREATED:20240912T182832Z
LAST-MODIFIED:20241105T153316Z
UID:20551-1731351600-1731358800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Night Watchman (El Velador) with Natalia Almada
DESCRIPTION:The Night Watchman (El Velador)\nDirected by Natalia Almada\nMexico\, 2011\, DCP\, color\, 72 min.\nSpanish with English subtitles\n\nNatalia Almada will be in conversation with Julie Mallozzi after the screening\n\nBorn in Mexico City as the great-granddaughter of Mexico’s controversial president Plutarco Elías Calles\, Natalia Almada makes intimate films exploring the tragedies in her own family history as well as the current violence in Mexico’s Sinaloa region. Her poetic\, multilayered approaches to storytelling have won her a MacArthur Award\, two Sundance Documentary Directing Awards\, and screenings at Documenta13\, The Museum of Modern Art\, The Guggenheim Museum\, and the 2008 Whitney Biennial. This event is part of a three-day visit to Harvard that will include a Shorenstein Center screening of Almada’s film Users on November 13\, followed by a conversation with Almada and Shorenstein Documentary Film Fellow Tabitha Jackson.\n\nFrom the opening shot through a pickup truck’s foggy windshield entering a cemetery at sunset\, El Velador is infused with an atmosphere of patient dread. At its center is Martin\, who works from dusk until dawn watching over the extravagant mausoleums of some of Mexico’s most notorious drug lords. In portraying the daily labor of those who maintain the cemetery and eschewing the pervasive\, graphic images of the violence behind many of these deaths\, Almada asks viewers to consider the relationship between the workers and those honored there. Such restraint opens these spaces of contemplation throughout the film. Between Martin’s night shifts\, masons frame the high cupolas and spread their cement\, coconut vendors roll by with music playing\, and florists arrange lavish wreath displays in time for the luxury cars to arrive for services. With radio reports about the weather and the latest murders comprising most of the film’s dialogue\, El Veladorbecomes a kind of landscape film: one capturing not only the vistas of this peculiar place but an aura generated by years of gross inequality\, corruption and ever-present violence. – Julie Mallozzi\n\nCo-presented by the Shorenstein Center on Media\, Politics and Public Policy\, The Harvard Film Archive\, and the Film Study Center.\n\n \n\n\n\n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-the-night-watchman-el-velador-with-natalia-almada/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/The-Night-Watchman-El-Velador-with-Natalia-Almada.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240502T183000
DTEND;TZID=America/New_York:20240502T203000
DTSTAMP:20240430T210821Z
CREATED:20230115T171203Z
LAST-MODIFIED:20240430T210821Z
UID:20361-1714674600-1714681800@filmstudycenter.fas.harvard.edu
SUMMARY:Charlie Prodger Double Bill: "BRIDGIT" and "SaF05" with Radcliffe-FSC fellow Charlie Prodger
DESCRIPTION:We are thrilled to present Charlie Prodger Double Bill: BRIDGIT and SaF05 with Charlie Prodger in person\, May 2 at 6:30pm at the Carpenter Center Theater. \nThrough the prism of queer subjectivity\, Charlie Prodger’s work explores intertwined relationships between the body\, landscape\, language and technology. This double-bill comprises BRIDGIT (2016) and SaF05 (2019); the penultimate and final in Prodger’s trilogy of films that began in 2015 with Stoneymollan Trail. This autobiographical cycle traces the accumulation of affinities\, desires and losses that form a self as it moves forward in time. Prodger is a 2023-24 fellow at the Radcliffe Institute for Advanced Study. \nBRIDGIT\, 2016\n32 mins \nBRIDGIT\, for which Prodger won the 2018 Turner Prize\, takes its title from the eponymous Neolithic deity whose name has numerous iterations depending on life stage\, locality and point in history. Exploring the shifting temporal interrelations of name\, body\, and landscape\, BRIDGIT focuses on female attachments—a process of identification that includes friends\, shape-shifting deities\, and other figures of influence. A flash drive used in the production of the film is named Turiya\, a moniker of musician Alice Coltrane\, and Prodger quotes virtual systems theorist and transgender studies pioneer Sandy Stone\, citing Stone’s various names (e.g. Sandy Stone\, Allucquere Rosanne Stone\, Allucquere Rosanne “Sandy” Stone) as extended embodiments spanning time and space. BRIDGIT was shot entirely on Prodger’s phone\, which she approaches as a prosthesis or extension of the nervous system—one which also provides an intimate connection to global social interaction and work. Body and device become extensions of each other\, and the work becomes a unified meditation on shifting subjectivity. \nSaF05\, 2019\n39 mins \nSaF05\, with which Prodger represented Scotland at the 58th Venice Biennale in 2019\, draws on archival\, scientific and diaristic sources and combines footage from a number of geographical locations (the Scottish Highlands\, the Great Basin Desert\, the Okavango Delta and the Ionian Islands). SaF05 is named after a maned lioness that figures in the work as a cipher for queer attachment and desire. This animal was the last of several maned lionesses documented in the Okavango Delta\, known to Prodger only through a database of behaviours and camera-trap footage logged by conservationists. Here\, she uses film industry cameras\, a smartphone\, and a flying drone—each employed for their inherent material properties. The hum of the drone is taken up as a sonic motif that transmutates throughout the film as a bagpipe\, a cicada mating call\, a saxophone\, and a battery alarm – syncopated equivalences between animal and human\, instrument and machine. Concurrently\, Prodger’s voiceover traces a chronology of intimate gestures and interpersonal connections from pubescence to the present\, inscribed with wider political structures of sovereignty\, land use and territory. SaF05 is a meditation on relations\, however tangible\, that expand and diffuse conceptions of intimacy\, family\, sexuality and kinship. \nCharlie Prodger (b. 1974\, United Kingdom) is a Glasgow-based artist working with moving image\, writing\, sculpture\, and drawing. She was the winner of the 2018 Turner Prize and represented Scotland at the 2019 Venice Biennale. She received the 2014 Margaret Tait Award\, the 2017 Paul Hamlyn Award and is a Macdowell Fellow. Prodger is currrently a 2023–24 fellow at Harvard Radcliffe Institute and a fellow at the Harvard Film Study Center. \nProdger’s work has been exhibited internationally\, including at Secession\, Vienna; Stedelijk Museum\, Amsterdam; Kunst Museum Winterthur; Monash University Museum of Art\, Melbourne; Wesleyan University Zlkha Gallery; The Renaissance Society\, University of Chicago; Yale Center for British Art; Bunder Kunstmuseum\, Chur; Studio Voltaire\, London; Tate Britain\, London; SculptureCenter\, New York; Bergen Kunsthall; Kunstverein Dusseldorf; British Art Show 8; Spike Island\, Bristol; National Galleries of Scotland\, Edinburgh; Kunsthalle Frieburg and Artists Space\, New York. Her films have been screened at numerous film festivals\, including London Film Festival\, Bucharest International Experimental Film Festival\, Courtisane festival\, Internationale Kurzfilmtage Oberhausen\, New York Film Festival\, Vancouver International Film Festival\, Lux Biennial of Moving Images\, Kochi-Muziris Biennale\, Seoul International New Media Festival and Toronto International Film Festival. \nProdger’s writing has been published in Frieze\, F.R.DAVID\, 2HB\, The Happy Hypocrite\, Intertitles: An Anthology at the Intersection of Writing and Visual Art and What Artists Wear by Charlie Porter. She teaches at De Ateliers in Amsterdam and at Zurich University of the Arts. She is represented by Hollybush Gardens\, London and Kendall Koppe\, Glasgow. \nFree admission\, general seating \nThis event is co-presented by the Carpenter Center for the Visual Arts\, the Film Study Center at Harvard University\, and the Radcliffe Institute for Advanced Study. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/charlie-prodger-double-bill-bridgit-and-saf05/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Chralie-Prodger-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240417T180000
DTEND;TZID=America/New_York:20240417T203000
DTSTAMP:20240319T181849Z
CREATED:20230115T171203Z
LAST-MODIFIED:20240319T181849Z
UID:20337-1713376800-1713385800@filmstudycenter.fas.harvard.edu
SUMMARY:"All Dirt Roads Taste of Salt" screening and conversation with filmmaker Raven Jackson\, film lead Charleen McClure\, and Professor Tracy K. Smith
DESCRIPTION:Please join us for a film screening of All Dirt Roads Taste of Salt (2023)\, with a post-screening conversation with filmmaker Raven Jackson\, film lead Charleen McClure\, and Professor Tracy K. Smith. \nAll Dirt Roads Taste of Salt\nWritten and Directed by Raven Jackson\nWith Charleen McClure\, Moses Ingram\, Reginald Helms Jr.\, Zainab Jah\, Sheila Atim\, and Chris Chalk\n2023\, 92 min. \nA lyrical\, decades-spanning exploration across a woman’s life in Mississippi\, the feature debut from award-winning poet\, photographer and filmmaker Raven Jackson is a haunting and richly layered portrait\, a beautiful ode to the generations of people and places that shape us. \nRaven Jackson is an award-winning filmmaker\, poet\, and photographer from Tennessee. Her work often explores landscapes of indefinable experiences and emotions\, as well as the body’s relationship to nature. Recently nominated for an Independent Spirit Award for Best First Feature and a Gotham Award for Breakthrough Director\, Raven’s debut narrative film\, All Dirt Roads Taste of Salt\, made in partnership with Maria Altamirano\, PASTEL\, and A24\, world-premiered in the US Dramatic Competition at the 2023 Sundance Film Festival\, and was named one of the top ten movies of the year by The New Yorker\, Rolling Stone\, and RogerEbert.com. The film has received support from Cinereach\, SFFILM\, the Gotham\, Film Independent\, Tribeca Film Institute\, New Orleans Film Society\, Ikusmira Berriak\, Indie Memphis\, Kenneth Rainin Foundation\, and Westridge Foundation. \nHer short films Nettles and A Guide to Breathing Underwater are currently streaming on the Criterion Channel. Stories From a Place Where All Dirt Roads Taste of Salt\, the companion book for her debut feature\, is currently out from A24. Her photography can be found in the book\, as well as in BOMB Magazine. She is a Cave Canem fellow and holds MFAs from New York University’s Graduate Film Program and the New School’s Writing Program. Her chapbook of poetry\, little violences\, is available from Cutbank Literary Magazine. \nCharleen McClure is a Fulbright scholar and 2020 recipient of the Rona Jaffe Foundation Writer’s Award. Her debut poetry collection\, d-sorientation\, is forthcoming from BOA Editions. All Dirt Roads Taste of Salt (A24\, 2023) is her film debut. She lives a few miles off the Chattahoochee River. \nTracy K. Smith is a Pulitzer Prize-winning poet\, memoirist\, editor\, translator and librettist. She served as the 22nd Poet Laureate of the United States from 2017-19\, during which time she spearheaded American Conversations: Celebrating Poetry in Rural Communities with the Library of Congress\, created the American Public Media podcast The Slowdown\, and edited the anthology American Journal: Fifty Poems for Our Time. \nSmith is the author of five poetry collections: Such Color: New and Selected Poems\, which won the 2022 New England Book Award; Wade in the Water\, which was awarded the 2018 Anisfield-Wolf Book Award; Life on Mars\, which won the 2012 Pulitzer Prize; Duende\, winner of the 2006 James Laughlin Award of the Academy of American Poets; and The Body’s Question\, which received the 2003 Cave Canem Prize. Her memoir\, Ordinary Light\, was a finalist for the 2015 National Book Award in nonfiction. She is the co-translator (with Changtai Bi) of My Name Will Grow Wide like a Tree: Selected Poems of Yi Lei\, which was a finalist for the 2021 Griffin Poetry Prize; and co-editor (with John Freeman) of There’s a Revolution Outside\, My Love: Letters from a Crisis. Her memoir-manifesto To Free the Captives: A Plea for the American Soul was published in November 2023. \nShe is a Professor of English and of African and African American Studies at Harvard University\, and a Susan S. and Kenneth L. Wallach Professor at Harvard Radcliffe Institute. \nFree admission\, general seating \nCo-Sponsored by The Film Study Center\, the Sensory Ethnography Lab\, the Department of Art\, Film\, and Visual Studies\, the Department of English\, and the for African & African American Research \n 
URL:https://filmstudycenter.fas.harvard.edu/event/all-dirt-roads-taste-of-salt/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/AllDirtRoads4-1600x900-c-default.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240304T190000
DTEND;TZID=America/New_York:20240421T190000
DTSTAMP:20250604T170843Z
CREATED:20230115T171203Z
LAST-MODIFIED:20250604T170843Z
UID:20298-1709578800-1713726000@filmstudycenter.fas.harvard.edu
SUMMARY:McMillan-Stewart Fellow Jean-Pierre Bekolo Retrospective at the Harvard Film Archive March 4 - April 21
DESCRIPTION:The Harvard Film Archive will host a retrospective of McMillan-Stewart fellow Jean-Pierre Bekolo’s films March 4 – April 21\, with Bekolo in attendance for screenings on March 22\, 23\, and 24. \nJEAN-PIERRE BEKOLO\, 2024 MCMILLAN-STEWART FELLOW \nIn 1992\, both Jean-Pierre Bekolo (b.1966) with Quartier Mozart and Quentin Tarantino with Reservoir Dogs (along with Julio Medem) were nominated for the London Film Festival’s prestigious Sutherland Trophy as two of the most promising cinematic voices in the years to come. Flash-forward three decades later: Hollywood filmmaker Tarantino is now a household name around the globe\, while equally talented and maverick Cameroonian/African filmmaker Jean-Pierre Bekolo has\, in spite of a truly brilliant and cerebro-visceral output\, unfortunately and\, arguably\, unjustly not received the same amount of attention. This structurally uneven and unequal political economy of world cinema\, which shapes and defines the destinies of filmmakers around the world\, underlines the need to celebrate and honor Jean-Pierre Bekolo’s insufficiently recognized\, yet thoroughly original\, deeply reflexive\, and always profoundly forward-looking cinema of questioning. \nJean-Pierre Bekolo came to cinema in the mid-1980s as a student of physics and chemistry at the University of Yaoundé in Cameroon. Taking advantage of the newly opened national television station\, he received training as an editor for two years\, in the process directing many music videos including one for popular Cameroonian musician Charlotte Mbango. From 1988 to 1990 Bekolo attended the famous Institut National de l’Audiovisuel in Paris and took courses with world-renowned film semiotician Christian Metz. After the release of three short films\, his first feature film\, Quartier Mozart (1992)\, announced the advent of a groundbreaking\, innovative voice in African and world cinema\, one who was at once part of the MTV generation of Africans and was also deeply influenced by the films of Spike Lee and by American popular cinema more broadly. Immediately\, the film was selected and celebrated at the 1992 Cannes Film Festival. \nBekolo continued to develop a rich\, multilayered and complex filmography including such classics as Aristotle’s Plot (1996)\, Les Saignantes (2005)\, and Le président (2013); exploring newer terrains with Naked Reality (2016)\, Miraculous Weapons (2017) and Nous Les Noirs (2021); and more recently producing a filmic adaptation of Djaili Amadou Amal’s novel Walaandé\, the Art of Sharing a Husband (2023)\, directed by Thierry Ntamack. In addition to filmmaking\, Bekolo’s artistic practice navigates the worlds of the gallery and the museum\, of knowledge production and dissemination as well as collective action and organizing. \nIt was clearly apparent\, at least since Aristotle’s Plot\, a film commissioned by the British Film Institute as part of its celebration of the centenary of the cinema\, that Bekolo was\, at his core\, an essayist in the noblest sense of the term\, who sought to work out his interrogations\, ideas\, thoughts and affects in his own subjectively experimental\, tentative and nondogmatic ways. Indeed\, since the end of the first decade of the 2000s\, Bekolo has been publishing essays\, blogs and various forms of reflection both on the significance and relevance of the cinema as well as on the challenges and the destiny of the African continent\, including Africa for the Future\, Sortir un nouveau monde du cinema (2009) and more recently Cinema as a Transformative Tool for the Therapeutic Intellectual (2023). Together\, these writings reveal a mind at once restless\, perpetually inquisitive and questioning\, always innovative while remaining profoundly dissatisfied with a lenifying status quo both in cinema as a means of representation and with the object of representation itself\, i.e. the real\, African and otherwise. There is in Bekolo a double impulse to transform the real itself as well as the means to represent it\, making his work profoundly philosophically inflected. \nIn addition to committing his own reflections and musings to paper\, Bekolo has also in the last decade sought to disseminate the thoughts of others through the moving image. Arguably inspired by Michel Gondry’s documentary Is the Man Who Is Tall Happy? An Animated Conversation with Noam Chomsky (2013)\, Bekolo would devote a three-hour documentary\, Mudimbe’s Order of Things (2015)\, to one of the foremost African philosophers\, Valentin Mudimbe\, author of such classics of postcolonial theory as The Invention of Africa (1988). Perhaps Bekolo’s single most comprehensive effort in this area involved filming the now famous “Workshops of Thought” (Les ateliers de la pensée) initiated by prominent African public intellectuals Achille Mbembe and Felwine Sarr. In doing so\, Bekolo positions himself as a traveling companion to major African scholars and intellectuals\, situating the cinematic field as another battlefield for both discursive and actual social transformation. \nJean-Pierre Bekolo’s work exceeds the focus on his own cine-artistic output. A decade after the beginning of his film practice and upon his return to France following his North American years\, roughly 1998-2000\, he decided to join and actively take part in one of the most important film movements in the history of African cinema\, the Guilde of African Filmmakers and Producers. Created in the mid-1990s as a self-conscious group which sought to initially establish its distances from the much larger Pan-African Federation of Filmmakers (FEPACI)\, it saw itself as the gathering of filmmakers who had a love for Africa in common\, who shared a location as displaced African subjects/cultural producers in major European/formerly colonial metropolises (primarily Paris/France)\, and who benefitted from the singularity of their bidirectional insider/outsider gaze at the continent. This globalization generation of African filmmakers was also the first generation to embrace the promise of the digital as a way of reinventing African cinema and the cinema more generally. This group included some of the most prominent contemporary voices of African cinema\, from Jean-Marie Teno\, Nadia El Fani\, Jihan El Tahri\, Abderrahmane Sissako and Fanta Nacro to Mahamat-Saleh Haroun\, Dani Kouyaté\, Issa Serge Coelo\, Jacques Trabi\, Fatma Zohra Zamoum\, Balufu Bakupa Kanyinda and Mama Keïta. \nMost famously\, Bekolo’s participation within the Guilde included a major intervention at the 2007 Cannes Film Festival. As part of its celebration of its sixtieth anniversary in 2006\, Cannes had commissioned filmmakers from around the world to each direct a part of an omnibus film but had not invited African filmmakers to participate\, with the exception of Youssef Chahine. For several years\, the festival had also failed to select a single African film in its official competition. Bekolo spearheaded a press campaign to denounce this\, pondering whether this was a case of racial profiling related to “the color of our images\,” arguably anticipating by over a decade the #OscarsSoWhite movement. \nJean-Pierre Bekolo is also an accomplished educator who has lectured at various universities in Europe and the United States. In recent years\, he has initiated the Scripto Sensa Workshops focusing on book-to-film adaptations and invented what he refers to as an “Alphabet of Film” in which he breaks down “cinematic elements into symbols and cards.” – Aboubakar Sanogo\, Carleton University \nBekolo’s extended visit to Harvard as the 2024 McMillan-Stewart Fellow in Distinguished Filmmaking will feature nearly all of his theatrical releases. The Harvard Film Archive and the FIlm Study Center are thrilled to welcome Bekolo to discuss his inventive\, otherworldly cinema and presumably much\, much more. \nPlease visit the HFA website for a list of films and times:\nhttps://harvardfilmarchive.org/programs/jean-pierre-bekolo-2024-mcmillan-stewart-fellow
URL:https://filmstudycenter.fas.harvard.edu/event/jean-pierre-bekolo-screenings-at-the-harvard-film-archive-march-4-april-21/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening,Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/DORY-ADELE-VOITURE.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230918T190000
DTEND;TZID=America/New_York:20230918T220000
DTSTAMP:20230830T201511Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230830T201511Z
UID:20078-1695063600-1695074400@filmstudycenter.fas.harvard.edu
SUMMARY:"Those That\, at a Distance\, Resemble Another" with filmmaker Jessica Rinland in person at the Harvard Film Archive
DESCRIPTION:Please join us at the Harvard Film Archive for a special screening of Those That\, at a Distance\, Resemble Another and conversation with filmmaker and FSC-Harvard fellow\, Jessica Sarah Rinland. \nThose That\, at a Distance\, Resemble Another\nDirected by Jessica Sarah Rinland\nUK/Argentina/Spain\, 2019\, DCP\, color\, 67 min.\nSpanish\, Portuguese and English with English subtitles. \nA meditation on the art and craft of conservation as a creative process\, Jessica Sarah Rinland’s poetic documentary Those That\, at a Distance\, Resemble Another follows the painstaking creation of a museum-quality replica of a historic elephant tusk. Observing closely the hands and tools of conservators\, and the filmmaker herself\, the film effectively defamiliarizes the ritualistic and technical work of conservators in a number of different museums and laboratories\, including the Harvard Art Museums. This is the latest of a number of films Jessica Sarah Rinland has made exploring ecological and epistemological concepts and concerns. \nAfter the screening\, Jessica Sarah Rinland will be joined in a conversation with HFA Director Haden Guest and Narayan Khandekar\, Director of the Straus Center for Conservation and Technical Studies\, Harvard Art Museums. \nTickets and more information on the HFA website \n 
URL:https://filmstudycenter.fas.harvard.edu/event/those-that-at-a-distance-resemble-another-with-filmmaker-jessica-rinland-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2020/11/Still-from-Those-That-at-a-Distance-Resemble-Another16x9.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230410T190000
DTEND;TZID=America/New_York:20230410T220000
DTSTAMP:20230202T151129Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T151129Z
UID:19783-1681153200-1681164000@filmstudycenter.fas.harvard.edu
SUMMARY:"Saint Omer" with filmmaker Alice Diop in person at the Harvard Film Archive
DESCRIPTION:Please join us at the Harvard Film Archive for a special screening of Saint Omer and conversation with filmmaker and Gardner Film Study Center fellow\, Alice Diop. \nSaint Omer\nDirected by Alice Diop.\nFrance\, 2022\, DCP\, color\, 122 min.\nFrench with English subtitles. \nClad in a brown sweater that dissolves her into the drab wooden architecture of the courtroom\, Laurence Coly (Guslagie Malanda) takes the stand in Diop’s first fiction film. Based on Fabienne Kabou\, a woman who went to trial in 2016 for the drowning of her baby daughter\, Laurence is a character caught in the crosshairs of the same cultural\, bureaucratic and racial obstacles that plague the subjects throughout the filmmaker’s body of work. Here\, what’s often unspoken or implicit in Diop’s prior films is made concrete and verbal through the patient dramatic coverage of three lengthy trials attended by a French-Senegalese novelist and expectant mother\, Rama (Kayije Kagame). Restricting her focus largely to one room and shooting in a confrontational\, uninflected style\, Diop wrings powerful drama out of the merciless gazes and neutered language of the courtroom\, all of which serve to exoticize and delegitimize the testimony of the seemingly inscrutable Laurence. But what might at first seem like a coldly objective recreation of a trial evolves gradually into an intensely emotional and intermittently lyrical study of a woman shaken to her core by her identification with Laurence’s words\, and the implications of them on her own cultural heritage and intellectual future. \n  \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-and-conversation-with-alice-diop-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Saint-Omer-Still-Image_web-e1675349275145.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230407T210000
DTEND;TZID=America/New_York:20230407T223000
DTSTAMP:20230202T151020Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T151020Z
UID:19809-1680901200-1680906600@filmstudycenter.fas.harvard.edu
SUMMARY:"Things of the Aimless Wanderer" with filmmaker Kivu Ruhorahoza in person at the Harvard Film Archive
DESCRIPTION:We are delighted to share the Harvard Film Archive’s program of screenings for Kivu Ruhorahoza\, the 2022-23 McMillan-Stewart fellow. This year\, with additional support from the McMillan-Stewart Foundation\, the Hutchins Center for African & African American Research\, and the Division of Arts & Humanities\, Ruhorahoza is in residence at the FSC and the Hutchins Center for the entire spring semester and will be in person at the HFA to screen and discuss his phenomenal body of work. Tickets can be purchased in advance online at the Harvard Film Archive below each individual film screening description. \nApril 7\, 9pm\nThings of the Aimless Wanderer\nIntroduction by Kivu Ruhorahoza\nDirected by Kivu Ruhorahoza.\nUK/Rwanda\, 2015\, DCP\, color\, 78 min. \nThis film pushes further Ruhorahoza’s interests in matters of reflexivity regarding representation\, this time focusing on the Western gaze upon Africa. Set in Rwanda\, Things ruminates on the possibility of a relationship between Africa and the West\, haunted by ghosts of the past\, ghosts of narratives\, trauma\, violence and violation\, and\, indeed of history\, dating as far back as the primal scene of the continent’s colonial encounter with explorers. In the process\, the filmmaker wonders whether\, in this overdetermined context of Western discursive production on Africa\, the aporia of the missionary/savage impulse is at all surmountable and\, indeed\, whether the possibility of pushing and potentially improving one’s society through the gaze of the Other is even imaginable.\nPlease visit the Harvard Film Archive website for full details and to purchase tickets. \nAbout Kivu Ruhorahoza\nKivu Ruhorahoza is one of the most important filmmakers of the contemporary generation of African filmmakers and\, arguably\, the single most significant director in the history of Rwandan cinema. He partakes of an African cinema that is in a process of profound renewal\, one that is no longer that of the founding fathers and mothers\, but a twenty-first century cinema that is at once confidently globalized and seeks to bring out the specificities of an African experience as well as foreground the possibilities and indispensability of African readings of the contemporary world. Indeed\, the richness of his cinematic discourse entails being able to say something about Africa\, affirming the right to say something about the world as viewed from Africa\, as well as being able to say something about the people who elect to say something about Africa and the world. \nThis desire to “speak” the world through cinema\, and the place of Africa within it\, is partly underwritten by the fact that\, like most African filmmakers\, he was born to find the screens of his country occupied by commercial cinemas from around the world and\, thus\, soaked in the cinemas of Hollywood\, Bollywood\, Hong Kong and Europe. Ruhorahoza was twelve years old when what is arguably the last great trauma on human conscience at the twilight of the twentieth century took place in Rwanda\, his country\, the Genocide of the Tutsi\, a grand narrative of our times that profoundly and surreptitiously informs\, resonates and echoes throughout his entire body of work. \nAs an international multi-award-winning filmmaker and artist\, Ruhorahoza has\, to date\, directed eleven short and feature films that have screened globally at prestigious festivals including FESPACO\, Sundance\, Berlinale\, IDFA\, Tribeca and Rotterdam\, among many others\, while his installations have been featured at the Tate\, the Museum of Modern Art\, and the Institute for Contemporary Art in London\, among others. \nThe eclectic cinema of Kivu Ruhorahoza is a cinema of questioning\, one that uses interrogation along with critical and vulnerable self-inscription to blaze its own trail\, in the hope of pointing to rays of light in the depth of darkness. As the title of his first film announces\, this is a “cinema of grey matter\,” that of a distinct cinematic voice that will be heard in the years and decades to come. – Aboubakar Sanogo\, Carleton University \n 
URL:https://filmstudycenter.fas.harvard.edu/event/things-of-the-aimless-wanderer-with-filmmaker-kivu-ruhorahoza-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-Things-of-the-Aimless-Wanderer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230407T190000
DTEND;TZID=America/New_York:20230407T203000
DTSTAMP:20230202T150952Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T150952Z
UID:19806-1680894000-1680899400@filmstudycenter.fas.harvard.edu
SUMMARY:"Europa\, 'Based on a True Story'” with filmmaker Kivu Ruhorahoza in person at the Harvard Film Archive
DESCRIPTION:We are delighted to share the Harvard Film Archive’s program of screenings for Kivu Ruhorahoza\, the 2022-23 McMillan-Stewart fellow. This year\, with additional support from the McMillan-Stewart Foundation\, the Hutchins Center for African & African American Research\, and the Division of Arts & Humanities\, Ruhorahoza is in residence at the FSC and the Hutchins Center for the entire spring semester and will be in person at the HFA to screen and discuss his phenomenal body of work. Tickets can be purchased in advance online at the Harvard Film Archive below each individual film screening description. \nApril 7\, 7pm\nEuropa\, “Based on a True Story”\nDirected by Kivu Ruhorahoza.\nUK/Rwanda/Switzerland\, 2019\, DCP\, color\, 93 min. \nWith his penultimate film\, and indeed the logical outcome of the previous two films\, Kivu Ruhorahoza now turns to reverse ethnography\, by becoming a Rwandan/African cine-ethnographer in contemporary Europe. Britain was Europe’s most powerful country in the Age of Empire but is currently suffering from a prolonged “postcolonial melancholia” (Gilroy)\, unable to confront and “work through” its inevitable decline (as is the fate of all empires)\, and using African and other migrants and asylum seekers as scapegoats deliberately left to rot in dehumanizing bureaucratic machines. The director engages in what may be termed “cine-care” by rendering this situation through the fictional story of a love triangle between a white British couple and a Nigerian asylum seeker and setting it against the backdrop of Brexit anti-immigrant passions and debates. He does so by deploying the fictional and essayistic modes of representation in tandem\, rendering\, in the process\, homage to Chris Marker in Sans Soleil (1983)\, Ousmane Sembène in Black Girl (1966) and Jean-Pierre Bekolo in Aristotle’s Plot (1996). One of the most powerful sequences in the film is a nightclub scene in which the film’s African hero\, in the depths of despair\, dances for money\, turning on its head the notion in feminist film theory of the male subject as holder of the gaze.\nPlease visit the Harvard Film Archive website for full details and to purchase tickets. \nAbout Kivu Ruhorahoza\nKivu Ruhorahoza is one of the most important filmmakers of the contemporary generation of African filmmakers and\, arguably\, the single most significant director in the history of Rwandan cinema. He partakes of an African cinema that is in a process of profound renewal\, one that is no longer that of the founding fathers and mothers\, but a twenty-first century cinema that is at once confidently globalized and seeks to bring out the specificities of an African experience as well as foreground the possibilities and indispensability of African readings of the contemporary world. Indeed\, the richness of his cinematic discourse entails being able to say something about Africa\, affirming the right to say something about the world as viewed from Africa\, as well as being able to say something about the people who elect to say something about Africa and the world. \nThis desire to “speak” the world through cinema\, and the place of Africa within it\, is partly underwritten by the fact that\, like most African filmmakers\, he was born to find the screens of his country occupied by commercial cinemas from around the world and\, thus\, soaked in the cinemas of Hollywood\, Bollywood\, Hong Kong and Europe. Ruhorahoza was twelve years old when what is arguably the last great trauma on human conscience at the twilight of the twentieth century took place in Rwanda\, his country\, the Genocide of the Tutsi\, a grand narrative of our times that profoundly and surreptitiously informs\, resonates and echoes throughout his entire body of work. \nAs an international multi-award-winning filmmaker and artist\, Ruhorahoza has\, to date\, directed eleven short and feature films that have screened globally at prestigious festivals including FESPACO\, Sundance\, Berlinale\, IDFA\, Tribeca and Rotterdam\, among many others\, while his installations have been featured at the Tate\, the Museum of Modern Art\, and the Institute for Contemporary Art in London\, among others. \nThe eclectic cinema of Kivu Ruhorahoza is a cinema of questioning\, one that uses interrogation along with critical and vulnerable self-inscription to blaze its own trail\, in the hope of pointing to rays of light in the depth of darkness. As the title of his first film announces\, this is a “cinema of grey matter\,” that of a distinct cinematic voice that will be heard in the years and decades to come. – Aboubakar Sanogo\, Carleton University \n 
URL:https://filmstudycenter.fas.harvard.edu/event/europa-based-on-a-true-story-with-filmmaker-kivu-ruhorahoza-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-Europa-Based-on-a-True-Story.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230403T190000
DTEND;TZID=America/New_York:20230403T213000
DTSTAMP:20230202T150905Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T150905Z
UID:19800-1680548400-1680557400@filmstudycenter.fas.harvard.edu
SUMMARY:“Grey Matter” with filmmaker Kivu Ruhorahoza in person at the Harvard Film Archive
DESCRIPTION:We are delighted to share the Harvard Film Archive’s program of screenings for Kivu Ruhorahoza\, the 2022-23 McMillan-Stewart fellow. This year\, with additional support from the McMillan-Stewart Foundation\, the Hutchins Center for African & African American Research\, and the Division of Arts & Humanities\, Ruhorahoza is in residence at the FSC and the Hutchins Center for the entire spring semester and will be in person at the HFA to screen and discuss his phenomenal body of work. Tickets can be purchased in advance online at the Harvard Film Archive below each individual film screening description. \nApril 3\, 7pm\nGrey Matter (Matière Grise)\nDirected by Kivu Ruhorahoza.\nRwanda\, 2011\, DCP\, color\, 110 min.\nKinyarwanda and French with English subtitles. \nRuhorahoza’s first feature is akin to a manifesto film in its announcement of several important axes of his cinema\, including the ghost of the genocide and reflexivity about and interrogation of the means\, stakes\, meaning and political economy of cinematic representation. In it\, Kivu Ruhorahoza asks the Adornian question: can and should we create after genocide\, in a context of national and continental trauma\, in the omnipresence of the memory of an open-air genocide? Can and should art exist after genocide? If so\, under what conditions? How do we repair trauma after 1994\, even of those who were not physically present during its unfortunate unfolding?\nPlease visit the Harvard Film Archive website for full details and to purchase tickets. \nAbout Kivu Ruhorahoza\nKivu Ruhorahoza is one of the most important filmmakers of the contemporary generation of African filmmakers and\, arguably\, the single most significant director in the history of Rwandan cinema. He partakes of an African cinema that is in a process of profound renewal\, one that is no longer that of the founding fathers and mothers\, but a twenty-first century cinema that is at once confidently globalized and seeks to bring out the specificities of an African experience as well as foreground the possibilities and indispensability of African readings of the contemporary world. Indeed\, the richness of his cinematic discourse entails being able to say something about Africa\, affirming the right to say something about the world as viewed from Africa\, as well as being able to say something about the people who elect to say something about Africa and the world. \nThis desire to “speak” the world through cinema\, and the place of Africa within it\, is partly underwritten by the fact that\, like most African filmmakers\, he was born to find the screens of his country occupied by commercial cinemas from around the world and\, thus\, soaked in the cinemas of Hollywood\, Bollywood\, Hong Kong and Europe. Ruhorahoza was twelve years old when what is arguably the last great trauma on human conscience at the twilight of the twentieth century took place in Rwanda\, his country\, the Genocide of the Tutsi\, a grand narrative of our times that profoundly and surreptitiously informs\, resonates and echoes throughout his entire body of work. \nAs an international multi-award-winning filmmaker and artist\, Ruhorahoza has\, to date\, directed eleven short and feature films that have screened globally at prestigious festivals including FESPACO\, Sundance\, Berlinale\, IDFA\, Tribeca and Rotterdam\, among many others\, while his installations have been featured at the Tate\, the Museum of Modern Art\, and the Institute for Contemporary Art in London\, among others. \nThe eclectic cinema of Kivu Ruhorahoza is a cinema of questioning\, one that uses interrogation along with critical and vulnerable self-inscription to blaze its own trail\, in the hope of pointing to rays of light in the depth of darkness. As the title of his first film announces\, this is a “cinema of grey matter\,” that of a distinct cinematic voice that will be heard in the years and decades to come. – Aboubakar Sanogo\, Carleton University \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-of-grey-matter-with-filmmaker-kivu-ruhorahoza-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-Grey-Matter.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230331T190000
DTEND;TZID=America/New_York:20230331T220000
DTSTAMP:20230202T150836Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230202T150836Z
UID:19789-1680289200-1680300000@filmstudycenter.fas.harvard.edu
SUMMARY:"Father's Day" with filmmaker Kivu Ruhorahoza in person at the Harvard Film Archive
DESCRIPTION:We are delighted to share the Harvard Film Archive’s program of screenings for Kivu Ruhorahoza\, the 2022-23 McMillan-Stewart fellow. This year\, with additional support from the McMillan-Stewart Foundation\, the Hutchins Center for African & African American Research\, and the Division of Arts & Humanities\, Ruhorahoza is in residence at the FSC and the Hutchins Center for the entire spring semester and will be in person at the HFA to screen and discuss his phenomenal body of work. Tickets can be purchased in advance online at the Harvard Film Archive below each individual film screening description. \nMARCH 31\, 7pm\nFather’s Day\nKivu Ruhorahoza in Conversation with Aboubakar Sonogo\nRwanda\, 2022\, DCP\, color\, 111 min.\nKinyarwanda with English subtitles. \nIn his latest film\, set in Rwanda\, in a COVID-19 context of confinement which\, almost by necessity\, invites an inward-looking gaze\, Kivu Ruhorahoza takes us on an exploration of masculinity through one of its most institutionalized forms: fatherhood. In the film\, he figures Rwandan societal debates around the interrogation of fatherhood in a post-genocidal context\, one in which the hands that held the machetes and struck\, the voices that aided and abetted\, the gestures that betrayed and denounced were primarily those of men. This crisis of confidence in masculinity leads the director to place hopes for the future of the social polity squarely in the hands of women and children. Through three parallel stories of failed masculinity (failure to provide\, to assume responsibility\, to grieve properly\, and the failing of humanity itself by a génocidaire)\, it falls on wives and daughters to potentially fork the path ahead\, to create a new culture of conviviality by helping heal the deep wounds of the psyche engendered by male infamy.\nPlease visit the Harvard Film Archive website for full details and to purchase tickets. \nAbout Kivu Ruhorahoza\nKivu Ruhorahoza is one of the most important filmmakers of the contemporary generation of African filmmakers and\, arguably\, the single most significant director in the history of Rwandan cinema. He partakes of an African cinema that is in a process of profound renewal\, one that is no longer that of the founding fathers and mothers\, but a twenty-first century cinema that is at once confidently globalized and seeks to bring out the specificities of an African experience as well as foreground the possibilities and indispensability of African readings of the contemporary world. Indeed\, the richness of his cinematic discourse entails being able to say something about Africa\, affirming the right to say something about the world as viewed from Africa\, as well as being able to say something about the people who elect to say something about Africa and the world. \nThis desire to “speak” the world through cinema\, and the place of Africa within it\, is partly underwritten by the fact that\, like most African filmmakers\, he was born to find the screens of his country occupied by commercial cinemas from around the world and\, thus\, soaked in the cinemas of Hollywood\, Bollywood\, Hong Kong and Europe. Ruhorahoza was twelve years old when what is arguably the last great trauma on human conscience at the twilight of the twentieth century took place in Rwanda\, his country\, the Genocide of the Tutsi\, a grand narrative of our times that profoundly and surreptitiously informs\, resonates and echoes throughout his entire body of work. \nAs an international multi-award-winning filmmaker and artist\, Ruhorahoza has\, to date\, directed eleven short and feature films that have screened globally at prestigious festivals including FESPACO\, Sundance\, Berlinale\, IDFA\, Tribeca and Rotterdam\, among many others\, while his installations have been featured at the Tate\, the Museum of Modern Art\, and the Institute for Contemporary Art in London\, among others. \nThe eclectic cinema of Kivu Ruhorahoza is a cinema of questioning\, one that uses interrogation along with critical and vulnerable self-inscription to blaze its own trail\, in the hope of pointing to rays of light in the depth of darkness. As the title of his first film announces\, this is a “cinema of grey matter\,” that of a distinct cinematic voice that will be heard in the years and decades to come. – Aboubakar Sanogo\, Carleton University \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-of-fathers-day-with-filmmaker-kivu-ruhorahoza-in-person-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Film-Still-Fathers-Day.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230320T173000
DTEND;TZID=America/New_York:20230320T200000
DTSTAMP:20230207T211031Z
CREATED:20230115T171203Z
LAST-MODIFIED:20230207T211031Z
UID:19819-1679333400-1679342400@filmstudycenter.fas.harvard.edu
SUMMARY:"Out of Breath" with filmmaker Helena Lemos Petta in person
DESCRIPTION:Join us for a screening of Out of Breath by FSC Associated fellow\, Helena Lemos Petta. Awarded the Best Documentary in the Brazilian Competition of the 2022 It’s All True International Documentary Film Festival Out of Breath shows healthcare as it intersects with religion\, inequalities and racism. The documentary sheds light on this health crisis giving a human face to our collective struggle against COVID 19 as we look for some healing in a world in desperate need of care. \nA reception with light refreshments will be served at 5pm and the film screening will begin at 5:30pm. \nHelena Lemos Petta graduated in Medicine from the Faculty of Medical Sciences of Santa Casa de São Paulo (2004)\, Master’s in Public Health from the Oswaldo Cruz Foundation and holds a Doctorate from the Department of Preventive Medicine at the University of São Paulo. Helena was a PhD exchange student at Harvard School of Public Health (2017 – 2018). She is the creator of the medical television series Basic Unit transmitted by the Universal Channel\, and author of “Basic Unit: a Brazilian public health on TV”\, by Hucitec (2020). Helena has experience in ​​communication and health. \nMarcia Castro is Andelot Professor of Demography\, Chair of the Department of Global Health and Population at the Harvard TH Chan School of Public Health\, and Chair of the Brazil Studies Program of the David Rockefeller Center for Latin American Studies (DRCLAS). Her research focuses on the development and use of multidisciplinary approaches to identify the determinants of infectious disease transmission in different ecological settings to inform control policies. She has more than 15 years of collaboration with Brazilian researchers\, Health Secretariats\, and the Ministry of Health particularly related to infectious diseases. She made important contributions during recent public health emergencies (the Zika virus epidemic and the COVD-19 pandemic). Castro has projects on malaria\, COVID-19\, arboviruses\, infant/child mortality and development\, and climate change in the Brazilian Amazon. Specifically\, on COVID-19 she has been assessing the spatiotemporal pattern of COVID-19 spread in Brazil\, mortality\, and fertility changes due to the pandemic\, risk factors for mortality\, and vaccine effectiveness. She serves on several advisory boards in Brazil\, including the Institute for the Studies of Health Policies (IEPS)\, the Science Center for Early Childhood (NCPI)\, and Instituto Todos Pela Saúde (ITpS). She earned a PhD in Demography from Princeton University. \nPresented in collaboration with The David Rockefeller Center for Latin American Studies\, Department of Global Health and Population\, and T.H. Chan School of Public Health. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/out-of-breath-with-filmmaker-helena-lemos-petta-in-person/
LOCATION:TSAI AUDITORIUM CGIS South\, 1730 Cambridge Street\, Cambridge\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2022/08/Image-1-e1675802672770.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221202T190000
DTEND;TZID=America/New_York:20221202T213000
DTSTAMP:20221130T024329Z
CREATED:20221115T171203Z
LAST-MODIFIED:20221130T024329Z
UID:19730-1670007600-1670016600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening and Conversation with Paz Encina at the Harvard Film Archive
DESCRIPTION:Please join us at the Harvard Film Archive for a special screening of EAMI and conversation with filmmaker and Radcliffe-FSC fellow\, Paz Encina. \nThe Harvard Film Archive is pleased to welcome back Paz Encina\, now as a 2022-23 Radcliffe/Film Study Center Fellow. Encina will be joined in conversation with AFVS Visiting Professor in Film\, Dominga Sotomayor\, David Rockefeller Center for Latin American Studies Visiting Scholar Cecilia Barrionuevo and HFA Director Haden Guest. \nPaz Encina (b. 1970) has created a series of spellbinding and visually striking films\, all set in her native Paraguay and powerfully meditating on memory\, history and the passage of different levels of time—personal\, historic\, natural. Encina’s latest film EAMI is a moving and sensitive portrait of the indigenous Ayoreo Totobiegosode people\, among the last tribes living in isolation in the Amazon but now threatened by rampant and illegal deforestation of their ancestral lands. Told from the point of view of the eponymous hero\, a young boy who is perhaps also the incarnation of a bird-god\, EAMI embraces the style and structure of indigenous storytelling\, with the boy’s incantatory narrative intertwined with other tribal voices and perspectives. By blending lyrical ethnography and mythopoetic narrative\, Encina crafts a richly textured immersion into the Ayoreo Totobiegosode imagination that never attempts to explain or render their culture fully accessible\, but instead seeks to give it intimate voice and dignity. Winner of the prestigious Tiger Award at the 2022 Rotterdam International Film Festival\, EAMI is an exemplary work of compassionate cinema. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/paz-encina-presents-her-film-eami-at-the-harvard-film-archive/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2022/11/Eami.jpg
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