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DTSTART;TZID=America/New_York:20240417T180000
DTEND;TZID=America/New_York:20240417T203000
DTSTAMP:20240319T181849Z
CREATED:20230115T171203Z
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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
END:VEVENT
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
END:VEVENT
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
END:VEVENT
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
END:VEVENT
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
END:VEVENT
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220420T180000
DTEND;TZID=America/New_York:20220420T203000
DTSTAMP:20220526T201226Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220526T201226Z
UID:19440-1650477600-1650486600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: "Three Summers" with Filmmaker and FSC-Radcliffe Fellow Sandra Kogut
DESCRIPTION:Please join us for an evening with filmmaker and Radcliffe-FSC Fellow Sandra Kogut. Sandra will be screening her film Three Summers followed by a discussion with Joana Pimenta\, Filmmaker and Interim Director of the Film Study Center. \n6:00pm Reception\n6:30pm Film and Discussion \nThree Summers (Brazil/France\, 2019\, 94 min. Portuguese with English subtitles) \nEvery December\, between Christmas and New Year\, Edgar and Marta host a lavish family celebration at their luxurious summer house by the beach. In 2015 all seemed well\, despite some tense phone calls and a guest wearing an ankle monitor. In 2016 the annual party was abruptly canceled. In 2017\, their lives were turned upside down. What happens to the invisible people living in the orbit of the rich and powerful when these lives collapse? Through the gaze of an employee and a forgotten elderly father\, both victims of the neoliberal nightmare\, we see a portrait of contemporary Brazil just before the tragedy of 2018. The signs were all there\, but we didn’t know how to read them. \nSandra Kogut is a Brazilian film director who works in and between France\, US\, and Brazil. Her award-winning feature-length fiction and documentary films have premiered at Festivals such as Cannes\, Toronto\, and Berlin\, among others. She is currently a Fellow at the Harvard Radcliffe Institute. \nJoana Pimenta is a Portuguese filmmaker\, currently working in the United States and Brazil. She teaches at the Department of Art\, Film\, and Visual Studies at Harvard University. Her latest film\, Dry Ground Burning\, co-directed with Adirley Queirós\, has premiered at the 72nd Berlinale\, and won the Grand Prix at Cinéma du Réel. \nA limited number of Harvard affiliates can register to participate in this in-person film screening. Pre-registration recommended.\nhttps://www.eventbrite.com/e/film-screening-three-summers-interview-with-the-director-sandra-kogut-tickets-311871344587 \nPresented in collaboration with The David Rockefeller Center for Latin American Studies (DRCLAS).
URL:https://filmstudycenter.fas.harvard.edu/event/screening-three-summers-with-filmmaker-and-fsc-radcliffe-fellow-sandra-kogut/
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/2021/12/Film-Still-Three-Summers.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220405T183000
DTEND;TZID=America/New_York:20220405T210000
DTSTAMP:20220405T130122Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220405T130122Z
UID:19399-1649183400-1649192400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Morgan Quaintance
DESCRIPTION:Morgan Quaintance will be sharing three of his shorts\, that effortlessly reassemble idiosyncratic connections between our past and our present through rich archival material and astute writing. \nAfter nearly a decade writing texts\, critical in both approach and importance\, that examine the sociopolitical entanglements of UK contemporary art\, Morgan Quaintance started working in moving images through a series of acclaimed experimental film essays in 2018. Since then\, his films have been well-received at top festivals (NYFF Currents\, IFFR) and awarded prizes across a wide swath of festivals\, from CPH:DOX and Punto de Vista to the Tacoma Film Festival. In this program\, the FSC is presenting a selection of the filmmaker’s most recent works\, which further develop his practice making linkages between the past and present\, tracing aesthetic and political similarities across different spaces and movements\, and positioning the personal as a necessary and additive lens to the discursive. These three short films assemble and reassemble interests across the cultural spectrum\, from the “death gaze” of yellow journalism to very personal medical imagery\, and connected by clever\, occasionally cheeky\, and always incisive writing that makes ample use of written and spoken text. Amid the increasing prominence of essay films at major documentary and experimental film festivals around the world\, Quaintance’s work is vital. \nTaking two anti-racist and anti-authoritarian liberation movements in South London and Chicago’s South Side as a point of departure\, South (2020) presents an expressionistic investigation of the power of individual and collective voice. Interlinked with Morgan Quaintance’s own biography (time spent living in both London and Chicago)\, the film also considers questions of mortality and the will to transcend a world typified by concrete relations. \nIn Surviving You\, Always (2020)\, the transcendental promise of psychedelic drugs contrasts with a concrete and violent experience of metropolitan living. These two opposing realities form the backdrop for an adolescent encounter told through still images and written narration. \nA Human Certainty (2021) follows the neurotic ramblings of a death-obsessed romantic in the throes of post-breakup blues. The autoimmune condition of St. Lidwina\, the tabloid street photographer Weegee\, and the filmmaker’s own spiritualist grandmother all come together to reflect on a particularly painful day at the beach. \nMorgan Quaintance is a London-based artist and writer. His moving image work has been shown and exhibited widely at festivals and institutions including: MOMA\, New York; Mcevoy Foundaton for the Arts\, San Francisco; Konsthall C\, Sweden; David Dale\, Glasgow; European Media Art Festival\, Germany; Alchemy Film and Arts Festival\, Scotland; Images Festival\, Toronto; International Film Festival Rotterdam; and Third Horizon Film Festival\, Miami. \nHe is the recipient of the 2021 Best Documentary Short Film Award at Tacoma Film Festival\, USA; the Explora Award at Curtocircuito International Film Festival\, Santiago de Compostela; UK Short Film Award at Open City Documentary Film Festival\, London\, the Jean Vigo Prize for Best Director at Punto de Vista\, Spain\, and the 2021 Best Experimental Film Award at Curtas Vila do Conde\, Portugal\, all for the film Surviving You\, Always (2021); the 2020 New Vision Award at CPH:DOX\, Denmark and the 2020 Best Experimental Film award at Curtas Vila Do Conde\, Portugal \, both for the film South (2020) . \nOver the past ten years\, his critically incisive writings on contemporary art\, aesthetics\, and their socio-political contexts\, have featured in publications including Art Monthly\, the Wire\, and the Guardian\, and helped shape the landscape of discourse and debate in the UK. Quaintance’s films are distributed by LUX\, London. \nCo-sponsored with The DocYard \nThis event is open to the Harvard Community.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-morgan-quaintance/
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/2021/12/South_two_16x9-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220331T170000
DTEND;TZID=America/New_York:20220331T190000
DTSTAMP:20220328T211450Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220328T211450Z
UID:19431-1648746000-1648753200@filmstudycenter.fas.harvard.edu
SUMMARY:Visiting Artist Talk with Moyra Davey and Screening of “i confess”
DESCRIPTION:Moyra Davey’s work comprises the fields of photography\, video and writing. Trained in photographic and moving image practices throughout the 1980s\, Davey became a mother in 1996\, prompting her to edit the collection Mother Reader: Essential Writings on Motherhood (2001)\, a survey of texts on creative life and maternal ambivalence. Subsequent to this period of research\, non-fiction writing in tandem with video\, took on greater significance in Davey’s artistic work. Since 2005 she has produced six narrative videos\, including the Les Goddesses trilogy\, focusing on the imagined\, intersecting lives of the female British Romantics\, and those of her five sisters; and i confess\, an essayistic work anchored by the emergent themes of race\, poverty\, and language in twentieth century Quebec. Davey took a hiatus from photography in 2003\, but resumed making still images six years later\, almost by accident\, when a gallery’s invitation to participate in an exhibition from afar\, prompted her to fold and mail photographs. This method of treating the photograph as a “giant postcard” enabled a new approach to the image\, and soon became a staple of Davey’s practice. She has authored numerous books\, most recently an essay collection\, Index Cards (2020)\, and The Shabbiness of Beauty (2021)\, in collaboration with the estate of Peter Hujar. Davey has exhibited widely\, and has participated in the Whitney/São Paulo/Montreal and Toronto Biennials\, as well as documenta-14 in Athens and Kassel. Her artworks are held in numerous public collections\, including MoMA and the Metropolitan Museum of Art in New York\, The Reina Sofia\, Madrid\, and Tate Modern\, London. A survey of her videos will be presented at MoMA\, NY in 2022. Davey is a 2020 John S. Guggenheim Fellow.
URL:https://filmstudycenter.fas.harvard.edu/event/visiting-artist-talk-with-moyra-davey-and-screening-of-i-confess/
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/2021/12/Film-Still-from-I-Confess-by-Moyra-Davey.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220325
DTEND;VALUE=DATE:20220404
DTSTAMP:20220526T202421Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220526T202421Z
UID:19301-1648166400-1649030399@filmstudycenter.fas.harvard.edu
SUMMARY:McMillan-Stewart Fellow Flora Gomes at Harvard
DESCRIPTION:Filmmaker and McMillan-Stewart fellow Flora Gomes will be visiting Harvard from March 23-30\, 2022\, for a series of screenings\, classroom visits\, and events with students and fellows. A retrospective of his films will screen at the Harvard Film Archive with Gomes in person at several of the events.  \nHarvard Film Archive Screenings:\nMarch 24\, 7pm: My Voice\nMarch 25\, 7pm: Mortu Nega *\nMarch 26\, 7pm: O Regresso de Amilcar Cabral & The Blue Eyes of Yonta *\nMarch 27\, 7pm: Tree of Blood *\nApril 2\, 3pm: The Children’s Republic\nApril 3\, 7pm: The Blue Eyes of Yonta \n* Flora Gomes in person \nMcMillan-Stewart Fellowship announcement: \nThe Film Study Center and the Harvard Film Archive are pleased to announce that the pioneering Bissau-Guinean director Flora Gomes has been selected as the 2021-22 McMillan-Stewart Fellow in Distinguished Filmmaking. Inspired by his early life under Portuguese colonial rule and by the thought and example of liberation leader Amilcar Cabral\, Gomes forged a powerful brand of revolutionary filmmaking that seeks to undo the imperialist narrative and give genuine voice to people and subjects that have long been ignored and oppressed. \nGomes’ time as a student of legendary Cuban filmmaker Santiago Alavarez\, and as assistant to Chris Marker\, were vital experiences that fed his early militant documentaries and his breakthrough film\, Mortu Negra [Death Denied] (1988)\, a powerful retelling of the 1973 Guinea-Bissau war for independence through the eyes of a young woman who joins her husband on the battlefield. A sober reconsideration of the cost of war and the bitter struggles that follow victory\, Mortu Negra is a complex and milestone film that also pays tribute to the resilience of African women. Gomes’ subsequent films include the acclaimed The Blue Eyes of Yonta (1992)\, a tender study of the post-independence generation\, and his spellbinding masterwork Tree of Blood (1996)\, a fable-like film that enters deep into the realm of legend and myth. Gomes’ more recent films and works in progress extend his project to chronicle the still ongoing anti-imperialist struggle and to make legible the dynamics of power and oppression at work across the African continent. \nThe McMillan-Stewart Fellowship in Distinguished Filmmaking was established at the Film Study Center in 1997 with a generous gift from Geneviève McMillan in memory of her late friend\, Reba Stewart\, to support outstanding filmmakers from Africa or the African diaspora. The endowment provides both a fellowship for the laureate\, through which they visit Harvard and share their work with the University community\, and also for the purchase of a representative example of the fellow’s oeuvre for preservation in the Harvard Film Archive. The McMillan-Stewart Advisory Committee for 2021-22 is comprised of Mahen Bonetti\, Haden Guest\, Dieudo Hamadi\, Joana Pimenta\, and Aboubakar Sanogo.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-fellow-flora-gomes-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/2021/10/Tree-of-Blood-.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220302T180000
DTEND;TZID=America/New_York:20220302T203000
DTSTAMP:20220228T165356Z
CREATED:20211215T171203Z
LAST-MODIFIED:20220228T165356Z
UID:19381-1646244000-1646253000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: "La Libertad" with Curator Cecilia Barrionuevo
DESCRIPTION:Cecilia Barrionuevo\, Artistic Director of Argentina’s Mar del Plata Film Festival\, will introduce a screening of La Libertad by Lisandro Alonso\, former Radcliffe-FSC fellow. \nLA LIBERTAD\nLisandro Alonso\, 2001\, Argentina\, 73 minutes\nLisandro Alonso’s landmark feature debut\, based on months of closely observing its subject’s routines\, follows a day in the life of Misael\, a young woodcutter in the Argentinean pampas. Using long takes that are at once uninflected and hyper-attentive\, La Libertad chronicles the stark facts and repetitive actions of Misael’s largely solitary existence: he searches for trees and chops wood\, pauses to defecate or eat\, prepares and transports the logs for sale\, returns to his camp to build a fire and cook his dinner. The title crystallizes a question about this man’s life: is the cyclical daily grind a burden or a kind of freedom? Or does the title refer to Alonso’s conception of an anti-dramatic\, materialist cinema\, absolutely in-the-moment and liberated from the traditional confines of fiction and documentary? “An account of everyday work that transforms the banal into poetry\, maybe even myth\,” James Quandt wrote of La Libertad\, named one of the top 10 films of the past decade in Cinema Scope magazine. An NYFF39 selection. (Film at Lincoln Center)\n  \nCECILIA BARRIONUEVO\nArtistic Director of the Mar del Plata International Film Festival and a permanent member of the Festival’s programming team since 2010\, Cecilla has also collaborated as a guest film programmer at the Latin American Art Museum of Buenos Aires\, Sala Lugones at the San Martín Theater\, Cortópolis Festival\, La Casa Encendida in Madrid\, the International Film Festival of Uruguay\, Museum of Contemporary Art of Buenos Aires\, Neighboring Scenes – The Films Society of Lincoln Center\, Antofacine. She co-edited the publication  Las  Naves Cine and  the books El tiempo detenido and Film Comment\, una antología. She has contributed as a writer to various cultural publications\, magazines and books\, taken part in round tables and conferences and taught film classes. (DocumentaMadrid)\n  \nThis screening is open to the Harvard community.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-la-libertad-with-cecilia-barrionuevo-artistic-director-of-argentinas-mar-del-plata-film-festival/
LOCATION:Lecture Hall\, Carpenter Center for the Visual Arts\, 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/2021/12/La-Libertad.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211202T173000
DTEND;TZID=UTC:20211202T193000
DTSTAMP:20211129T182454Z
CREATED:20211121T234020Z
LAST-MODIFIED:20211129T182454Z
UID:19282-1638466200-1638473400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Alain Gomis
DESCRIPTION:Filmmaker Alain Gomis (McMillan-Stewart Fellow\, 2017-18) will join the FSC for a work in progress screening of his current film. \nAlain Gomis\, born in France\, is of Senegalese origin and studied cinematography at the Sorbonne. After graduating he organized and facilitated video production workshops for immigrant youth in Nanterre. By the age of twenty-six\, he had already made three short films: Tourbillons\, Tout le monde peut se tromper\, and the documentary Caramels et chocolats. In 2001\, Gomis directed his first feature film\, L’Afrance. Gomis’ 2012 film\, Tey\, was awarded the Etalon de Yenenga at FESPACO in 2012. His films often fall under the subject of young immigrants from Sub-Saharan Africa. His 2017 film Félicité won the grand jury prize at the Berlinale and the Étalon d’or again at FESPACO. It was also selected as the Senegalese entry for the Best Foreign Language Film at the 90th Academy Awards\, making the December shortlist. Alain Gomis regularly gives production and writing workshops\, and\, in 2019\, he and Aissatou Diop created the Yennenga Center in Dakar to promote independent film production in Senegal and Africa. (African Film Festival) \nThis event is for current FSC fellows\, CMP students\, and members of the AFVS community.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-alain-gomis/
LOCATION:MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/png:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Alain-Gomis-at-the-HFA-2018.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211101T150000
DTEND;TZID=UTC:20211101T163000
DTSTAMP:20210930T170612Z
CREATED:20210121T234020Z
LAST-MODIFIED:20210930T170612Z
UID:19239-1635778800-1635784200@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Nadav Lapid
DESCRIPTION:The Film Study Center is excited to welcome celebrated Israeli writer-director Nadav Lapid. \nNadav Lapid makes intensely personal\, cunningly political\, and propulsive films brimming with an energy often mirrored by his lead characters. Ahed’s Knee\, his fourth feature and co-winner of the Jury Prize at Cannes\, is arguably his most radical film yet — one steeped in torment and angst with irrepressible moments of despairing romanticism emanating from Y\, an obvious alter ego to Lapid. \nPlayed with fierce physicality by choreographer Avshalom Pollak\, Y is a filmmaker and artist who\, in the midst of casting for a project inspired by real-life Palestinian activist Ahed Tamimi\, receives an invitation to present one of his films in a small town in the arid Arava Valley. There he is met by vast desert expanses — which he films on his phone and sends to his ailing mother — and his host\, Yahalom (Nur Fibak)\, a passionate admirer of his work who arranged the screening in her role as deputy director of the Ministry of Culture’s library department. The two instantly engage in a physical and intellectual game of cat and mouse\, but when Y is asked to sign a waiver declaring that he will stick to government-sanctioned topics in his introductory address\, he cannot contain his indignation at the Ministry’s censorious agenda and the ills behind it. \nA formally brazen and\, at times\, purposefully assaultive work that questions an artist’s moral imperative to resist cultural and political oppression and state-backed propaganda\, Ahed’s Knee pulls no punches. It feverishly and viscerally confronts residual trauma that festers like an open wound in a cycle of violence\, in which the oppressed becomes the oppressor. Lapid’s film enacts a manifesto-like gesture that demands a response — and silence is not an option. — Andrea Picard\, TIFF \n  \nOct. 26\, 12pm and 6pm: Screening of Ahed’s Knee (2021\, 110 min.)\nNov. 1\, 3pm: NfW with Nadav Lapid (via Zoom)
URL:https://filmstudycenter.fas.harvard.edu/event/copy-of-the-fsc-nonfiction-workshop-presents-nadav-lapid/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Aheds-Knee.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211019T173000
DTEND;TZID=UTC:20211019T203000
DTSTAMP:20211016T234725Z
CREATED:20210121T234020Z
LAST-MODIFIED:20211016T234725Z
UID:19182-1634664600-1634675400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Paula Gaitán
DESCRIPTION:We are pleased to welcome visual artist\, photographer\, poet\, and filmmaker Paula Gaitán to the Film Study Center. \nPaula Gaitán was born in Paris in 1954 and received a Visual Arts degree from the University of Los Andes in Bogotá\, Colombia. Paula’s work combines a deeply personal artistic vision with palpable reality. Her filmography consists of nine feature length films. In 2016\, the Cinematheque of Museum of Modern Art (MAM – Rio de Janeiro) presented a retrospective of her work \, and Mostra Tiradentes\, also in Brazil\, presented a homage to her work in the 2021 edition. She currently lives and works in the city of São Paulo\, Brazil. \nOct. 13\, 1pm: Screening of Light in the Tropics (2020\, 4hrs. 19min.)\nOct. 19. 5:30pm: Screening of Uaká (1988\, 77 min.)
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-paula-gaitan/
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/2021/01/Paula-Gaitan_16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211004
DTEND;VALUE=DATE:20211006
DTSTAMP:20211004T150540Z
CREATED:20210121T234020Z
LAST-MODIFIED:20211004T150540Z
UID:19214-1633305600-1633478399@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Payal Kapadia
DESCRIPTION:We are delighted to co-sponsor with the DocYard a special screening and visit with filmmaker Payal Kapadia. \nPayal Kapadia’s latest film A Night of Knowing Nothing will screen at the DocYard on Monday\, Oct. 4 followed by a Q&A over Skype. The following evening Payal will visit the Film Study Center’s Nonfiction Workshop at 5:30pm (over Zoom) for a discussion about her films. If you are interested in attending and are not currently an FSC fellow (we are only able to accommodate a limited number of participants) kindly email FSC’s program coordinator Cozette Russell (cerussell@fas.harvard.edu). \nABOUT THE FILM \nStarting with a beautifully accomplished trilogy of short films\, Mumbai-based filmmaker Payal Kapadia has developed a bold hybrid cinema that seamlessly combines fiction and nonfiction techniques. In A Night of Knowing Nothing\, her first feature\, Kapadia’s vision continues in fearless\, rigorous\, and utterly astonishing form—and was justly rewarded with the documentary Golden Eye prize at Cannes 2021. The film’s story comprises a series of love letters found in a cupboard at a film school\, from a student who is separated from her lover and thus writing and saving them for his return. As the letters are read aloud by an actor\, the visual material that bolsters the narrative is comprised of beautiful 16mm footage that Kapadia and collaborator Ranabir Das (the film’s cinematographer and editor) recorded of their friends\, and their friends’ own videos\, starting in 2017. All of the crisp diegetic recordings\, voiceover narration\, and images merge and flow into each other effortlessly\, setting up the context for even those unfamiliar with India’s present and presenting an oneiric telling of personal and societal responsibility. In this way\, the story of one student’s relationship becomes a larger story about the life of university students more broadly\, told with great urgency\, especially once the film advances to its titular night. (AS) \nWorld Premiere and L’Œil d’or\, le prix du documentaire winner at 2021 Cannes. Closing Night at 2021 FIDMarseille. Official Selection of 2021 TIFF Wavelengths and 2021 NYFF Currents and winner of the Cinematic Vision Award at Camden International Film Festival this past weekend where the film had its US Premiere. \nABOUT THE FILMMAKER \nPayal Kapadia is a Mumbai-based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her short films Afternoon Clouds and And What Is The Summer Saying premiered respectively at the Cinéfondation and Berlinale. She is a Berlinale Talents alumna and participated in 2019 at the Cinéfondation – Residence in du Festival de Cannes. \nHer first feature-length film A Night of Knowing Nothing was selected for Director’s Fortnight\, Cannes 2021 where it won the Golden Eye Prize for Best Documentary. Her next project\, All We Imagine as Light\, which received support from CICLIC\, Hubert Bals Fund\, and PJLF Arts Fund\, is currently in development.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-payal-kapadia/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/A-Night-of-Knowing-Nothing-Still-2-1024x768-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210913T173000
DTEND;TZID=UTC:20210913T190000
DTSTAMP:20210823T161612Z
CREATED:20210121T234020Z
LAST-MODIFIED:20210823T161612Z
UID:19144-1631554200-1631559600@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Elizabeth A. Povinelli
DESCRIPTION:We are delighted that critical theorist and filmmaker Elizabeth A. Povinelli will join us to discuss a program of her films. Her writing has focused on developing a critical theory of late settler liberalism that would support an anthropology of the otherwise. This potential theory has unfolded across five books\, numerous essays\, and thirty-five years of collaboration with her Indigenous colleagues in north Australia\, including\, most recently\, six films they have created as members of the Karrabing Film Collective. Ahead of her visit\, we will watch The Inheritance and Day in the Life. \nThe Inheritance Alice Henry Ink\, 2021\, 80 min.\nIn the late 1960s and early 1970s\, little Elizabeth Povinelli struggles to understand the meanings of her Alpine inheritance hidden in the rich-hued ridges of a framed image hanging in her family’s home and expressed in the sudden flashes of anger and deep pockets of melancholia that pool round it\, only to discover the source of her inheritance is not in the past but in the present racial and colonial infrastructures that surround her in the US. \nDay in the Life Karrabing Film Collective\, 2020\, 32 min.\nDay in the Life explores the ordinary obstacles Indigenous families face as they move through an ordinary day. Across five chapters–Breakfast\, Playtime\, Lunch Break\, Cocktail Hour\, and Dinner Time–and an audioscape directed by its younger members\, DIL is a visual and sonic landscape that dramatizes and satirizes the settler forms of governance and extractive capitalism that Karrabing members encounter over the course of a day. \nThis event will be presented remotely over Zoom. The FSC will circulate links to the films in advance to watch on our own\, and then we will get together online to have a conversation about the work. We have limited capacity regarding the number of participants we can accommodate\, so if you are interested in attending (and are not currently an FSC fellow or CMP student)\, please email Cozette Russell at cerussell@fas.harvard.edu.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-elizabeth-povinelli/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2021/01/Frameworks-Acolyte_Karrabing-Film-Collective_Day-in-the-Life_5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201110T113000
DTEND;TZID=UTC:20201110T130000
DTSTAMP:20210106T211851Z
CREATED:20190910T224020Z
LAST-MODIFIED:20210106T211851Z
UID:18076-1605007800-1605013200@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Hassen Ferhani
DESCRIPTION:Hassen Ferhani was born in Algiers in 1986. In 2006\, he directed his first film Les Baies d’Alger. He took part in l’Université d’été at La Fémis and co-directed Afric Hotel (2011). Later on\, he made Tarzan\, Don Quichotte et nous (2013)\, which was presented at Visions du Réel\, FIDMarseille and Locarno\, and which had already reflected his interest in documentary bordering on fiction. Roundabout in My Head (2015)\, shot in slaugtherhouses in Algiers\, was his first feature. In 2015 he was awarded a McMillan-Stewart Fellowship in Distinguished Filmmaking from the Film Study Center. \n143 rue du désert (2019)\n104 min. \nPreviously\, a slaughterhouse opened up the heart of Algiers to the world (Roundabout in My Head\, 2015). Now\, the manager of a small shop in the Sahara offers a place of peace − though maybe not an oasis\, what with the sand wiping out even the colors in this documentary Western. A closed off chamber\, an observation spot or a theater stage: such is the versatility of a filmmaking device that Ferhani – and therein lies his talent − never seems to be satisfied with\, always being ready to embrace the unexpected. – Antoine Thirion\, Locarno Film Festival\, Concorso Cineasti del presente. \nThis Fall\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending (and are not currently a FSC fellow)\, please email Cozette Russell \n 
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-hassen-ferhani-2/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Still-from-143-rue-du-desert.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201027T173000
DTEND;TZID=UTC:20201027T190000
DTSTAMP:20201201T233950Z
CREATED:20190910T224020Z
LAST-MODIFIED:20201201T233950Z
UID:18073-1603819800-1603825200@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Maya Da-Rin and Felippe Mussel
DESCRIPTION:Maya Da-Rin is a filmmaker and visual artist. Born in 1979 in Rio de Janeiro\, she studied Design and Philosophy of Art at the Rio de Janeiro Pontifical Catholic University as well as attended film workshops at the Cuban Film School. In 2010 she enrolled the Cinema and Visual Arts’ program of Le Fresnoy (France)\, where she graduated with honors. In 2013 she was an artist in residence at the LABoral Art Center\, in Spain\, and in 2016 she completed the master’s degree in Cinema and Art History at Sorbonne Nouvelle. Her work has been shown and awarded at film festivals and art institutions such as Locarno\, DokLeipzig\, Toulouse\, Guadalajara\, São Paulo Art Biennial\, MoMA and New Museum NY. Her first feature film\, The Fever\, selected at the Cinéfondation residence (Cannes)\, Script&Pitch and FrameWork (TorinoFilmLab) and was awarded by the Hubert Bals Fund for script and development (Rotterdam). \nThe Fever (2019)\n98 min.\nwith Felippe Mussel\, sound director of The Fever \nManaus is an industrial city surrounded by the Amazon rainforest. Justino\, a 45 years old Desana native\, works as a security guard at the cargo port. Since the death of his wife\, his main company is his youngest daughter with whom he lives in a modest house on the outskirts of town. Nurse at a health clinic\, Vanessa is accepted to study medicine in Brasilia and will need to be leaving soon. \nAs the days go by\, Justino is overcome by a strong fever. During the night\, a mysterious creature follows his footsteps. During the day\, he fights to stay awake at work. But soon the tedious routine of the harbor is broken by the arrival of a new guard. Meanwhile\, his brother’s visit makes Justino remember the life in the forest\, from where he left twenty years ago. Between the oppression of the city and the distance of his native village\, Justino can no longer endure an existence without place. \nThis Fall\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending (and are not currently a FSC fellow)\, please email Cozette Russell.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-maya-da-rin-and-felippe-mussel/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Still-from-The-Fever.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201013T173000
DTEND;TZID=UTC:20201013T193000
DTSTAMP:20201201T231958Z
CREATED:20190910T224020Z
LAST-MODIFIED:20201201T231958Z
UID:18066-1602610200-1602617400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Indigenous Cinemas in Brazil: Concepts and Effects of Self-Representation
DESCRIPTION:Filmmakers Patricia Ferreira and Alberto Alvares Guarani\, and the writer and indigenous leader Ailton Krenak\, will be joining us at the FSC for the screening and discussion “Indigenous Cinemas in Brazil\,” programmed by Junia Torres. \nJunia Torres (film programmer\, coordinator for forumdoc.bh) will present a program of films by indigenous filmmakers\, focusing on Brazil. Joining Torres will be a panel including filmmakers Patricia Ferreira and Alberto Alvares Guarani\, and the writer and indigenous leader Ailton Krenak. \nThis program will explore the concept and the effects of self-representation through films by indigenous filmmakers. We will discuss a filmmaking history that spans more than three decades\, focusing on how the introduction and appropriation of cinematic language across different ethnicities supported the struggle of indigenous peoples to strengthen their identities and their territorial and cultural patrimony\, through a form of production that was shared by the diverse indigenous peoples. Today\, most indigenous filmmakers work autonomously\, away from outside structures\, to conceive\, film\, and edit. These filmmakers have reconfigured the contemporary documentary movement in Brazil. (Junia Torres) \nCo-sponsored with the Center for Visual Anthropology at the University of Southern California. \nThis Fall\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. If you are interested in attending this program (and are not currently a FSC fellow)\, please email Cozette Russell by October 9.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-indigenous-cinemas-in-brazil-concepts-and-effects-of-self-representation/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk,Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Memory-Keepers-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200915T173000
DTEND;TZID=UTC:20200915T173000
DTSTAMP:20201201T205305Z
CREATED:20190910T224020Z
LAST-MODIFIED:20201201T205305Z
UID:18055-1600191000-1600191000@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Miko Revereza
DESCRIPTION:Miko Revereza is an award-winning experimental filmmaker\, educated at Bard College. Moving from Manila\, he has lived illegally in the United States for years. The work of this undocumented documentary filmmaker is strongly influenced by his own struggle with documentation and the exclusion that comes with it. Revereza’s documentary film debut “Droga!/Drug!” (2014) was nominated for Best Experimental Documentary in Jihlava. His feature debut “No Data Plan” (2019) had its world premiere at IFFR. – IFFR program \nThis Fall\, the FSC will be hosting (remotely) a series of visiting filmmakers as part of our Nonfiction Workshop. Invited filmmakers will circulate links to their films in advance so that we can watch them on our own\, and we will get together as a group to have a conversation about their work. As many of these works are in progress or yet to be released theatrically\, we have limited capacity in terms of the number of participants we are able to accommodate. This event is only open to FSC Fellows.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-miko-revereza/
LOCATION:via Zoom\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/Experimental-filmmaker-Miko-Revereza.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200421T180000
DTEND;TZID=UTC:20200421T180000
DTSTAMP:20201201T003412Z
CREATED:20190910T224020Z
LAST-MODIFIED:20201201T003412Z
UID:16334-1587492000-1587492000@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Hassen Ferhani [CANCELED]
DESCRIPTION:[CANCELED] \nHassen Ferhani was born in Algiers in 1986. In 2006\, he directed his first film Les Baies d’Alger. He took part in l’Université d’été at La Fémis and co-directed Afric Hotel (2011). Later on\, he made Tarzan\, Don Quichotte et nous (2013)\, which was presented at Visions du Réel\, FIDMarseille and Locarno\, and which had already reflected his interest in documentary bordering on fiction. Roundabout in My Head (2015)\, shot in slaugtherhouses in Algiers\, was his first feature. In 2015 he was awarded a McMillan-Stewart Fellowship in Distinguished Filmmaking from the Film Study Center. \n143 rue du désert (2019)\n104 min. \nPreviously\, a slaughterhouse opened up the heart of Algiers to the world (Roundabout in My Head\, 2015). Now\, the manager of a small shop in the Sahara offers a place of peace − though maybe not an oasis\, what with the sand wiping out even the colors in this documentary Western. A closed off chamber\, an observation spot or a theater stage: such is the versatility of a filmmaking device that Ferhani – and therein lies his talent − never seems to be satisfied with\, always being ready to embrace the unexpected. – Antoine Thirion\, Locarno Film Festival\, Concorso Cineasti del presente
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-hassen-ferhani/
LOCATION:Sever Hall 416\, Harvard Yard\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/HassenFerhani143ruedudesert-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200417T190000
DTEND;TZID=UTC:20200417T190000
DTSTAMP:20210106T212106Z
CREATED:20190910T224020Z
LAST-MODIFIED:20210106T212106Z
UID:16214-1587150000-1587150000@filmstudycenter.fas.harvard.edu
SUMMARY:An Evening with Sylvia Schedelbauer [CANCELED]
DESCRIPTION:[CANCELED] \nBorn in Tokyo Sylvia Schedelbauer first moved to Berlin in 1993\, where she has been based since. She studied at the University of Arts Berlin (with Katharina Sieverding). Her films negotiate the space between broader historical narratives and personal\, psychological realms mainly through poetic manipulations of found and archival footage. \nSelected screenings: Berlinale\, Toronto International Film Festival\, International Short Film Festival Oberhausen\, London Film Festival\, New York Film Festival\, Robert Flaherty International Film Seminar and Stan Brakhage Symposium. Awards include the VG Bildkunst Award\, the German Film Critics’ Award and the Gus Van Sant Award for Best Experimental Film. Schedelbauer is a 2019/2020 fellow at the Radcliffe Institute for Advanced Study at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/an-evening-with-sylvia-schedelbauer/
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/2019/09/sylvia2018_940x460-e1581540062518.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200413T190000
DTEND;TZID=UTC:20200413T190000
DTSTAMP:20201201T003903Z
CREATED:20190910T224020Z
LAST-MODIFIED:20201201T003903Z
UID:16219-1586804400-1586804400@filmstudycenter.fas.harvard.edu
SUMMARY:Krabi\, 2562 with directors Anocha Suwichakornpong and Ben Rivers [CANCELED]
DESCRIPTION:[CANCELED] \nKrabi\, 2562\nAnocha Suwichakornpong and Ben Rivers in Person \nThailand\, United Kingdom\, 2019\nThai\, English\n94 minutes \nAn innovative exploration of the Thai tourist community\, Anocha Suwichakornpong and Ben Rivers’ visually elegant and conceptually creative documentary is an ambitious reflection on time\, place\, and memory. \nCreative documentary and cinematic realism are at the core of Krabi\, 2562\, a luminous\, elegantly playful work on the power images have to represent and manipulate a personal universe of collective memories and to inspire social awareness. \nCo-conceived and directed by festival favourites Anocha Suwichakornpong and Ben Rivers\, two distinctive voices from different cultures and traditions who nevertheless share a similarly generous vision of the world\, Krabi\, 2562 is an elaboration of themes and ideas investigated in the duo’s 2018 installation for the first Thai Biennale. In the film’s narrative and visual space the Holocene\, the recent past\, and present day (2562 being the current year in the Thai Buddhist calendar) coexist in southern Thailand’s Krabi region and its quietly beautiful landscapes — paradises soon to be lost forever in the contamination of rampant consumerism and invasive tourism. \nAs a woman — who has a propulsive\, changing identity — guides viewers through Krabi’s history\, folklore\, and iconic sites\, the film’s hybrid structure merges fiction\, interviews\, and oral tradition into a fluid experience\, as placid as it is trippy. In one instance\, a prehistoric couple exists alongside Krabi’s many international tourists and commercial film crews\, going about their mundane daily life oblivious to the millennia that have passed. \nShot on Super 16 by Rivers and cinematographer Leung Ming Kai\, the film lingers on the quiet pace of omnipresent nature\, ever-changing light\, and the inhabitants who strangely\, though also naturally\, are suspended within a vast time continuum — including that of memory. \nGIOVANNA FULVI\, Toronto Film Festival
URL:https://filmstudycenter.fas.harvard.edu/event/krabi-2562-with-directors-anocha-suwichakornpong-and-ben-rivers/
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/2019/09/Krabi-2562-e1581539991551.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200331T180000
DTEND;TZID=UTC:20200331T180000
DTSTAMP:20200311T172903Z
CREATED:20190910T224020Z
LAST-MODIFIED:20200311T172903Z
UID:16330-1585677600-1585677600@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Camilo Restrepo [CANCELED]
DESCRIPTION:[CANCELED] \nCamilo Restrepo (1975\, Colombia) has lived and worked in Paris since 1999. He is a member of L’Abominable\, an artist-run film laboratory. His films have been selected in festivals including Toronto and New York and won the Silver Leopard prize at Locarno International Film Festival twice\, for his films Impression of a War (2015) and Cilaos (2016). \nLos Conductos (2020)\n70 min. \nPinky is on the run. At night the empty streets smell of the apocalypse and the city seems to be on fire. Narcotics swirl through the veins and the air. Having freed himself from the clutches of a sect led by a certain “padre” and determined to take his fate into his own hands\, he is now holed up in an illegal T-shirt factory\, surrounded by paints\, slogans and heat presses. Pinky is looking for the light at the end of the tunnel\, but ghosts are breathing down his neck. He is running for his life\, and Colombia is on fire. But Colombia is alive. After his highly promising short films\, Camilo Restrepo has now made a debut feature that is as visionary\, physical and elastic as the 16mm celluloid on which it was shot. The deeper Los conductos dives into the nightmarish and the hallucinatory\, the tougher\, more political and hungrier for reality the film becomes. In a narrative downward spiral\, it conveys with the utmost precision the survival instincts of a character who is unwittingly fighting to liberate an entire country\, perhaps even a continent. Restrepo uses the medium of cinema to transform an allegorical exploration of one’s roots into an irrepressible desire to change the world. – Berlinale Encounters\, 70th International Film Festival Berlin
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-camilo-restrepo/
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/2019/09/los-conductos-1.jpg
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DTSTART;TZID=UTC:20200325T180000
DTEND;TZID=UTC:20200325T180000
DTSTAMP:20200311T172933Z
CREATED:20190910T224020Z
LAST-MODIFIED:20200311T172933Z
UID:16338-1585159200-1585159200@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Maya Darin [CANCELED]
DESCRIPTION:[CANCELED] \nMaya Da-Rin is a filmmaker and visual artist. Born in 1979 in Rio de Janeiro\, she studied Design and Philosophy of Art at the Rio de Janeiro Pontifical Catholic University as well as attended film workshops at the Cuban Film School. In 2010 she enrolled the Cinema and Visual Arts’ program of Le Fresnoy (France)\, where she graduated with honors. In 2013 she was an artist in residence at the LABoral Art Center\, in Spain\, and in 2016 she completed the master’s degree in Cinema and Art History at Sorbonne Nouvelle. Her work has been shown and awarded at film festivals and art institutions such as Locarno\, DokLeipzig\, Toulouse\, Guadalajara\, São Paulo Art Biennial\, MoMA and New Museum NY. Her first feature film\, The Fever\, selected at the Cinéfondation residence (Cannes)\, Script&Pitch and FrameWork (TorinoFilmLab) and was awarded by the Hubert Bals Fund for script and development (Rotterdam). \nThe Fever (2019)\n98 min.\nwith Felippe Mussel\, sound director of “The Fever” \nManaus is an industrial city surrounded by the Amazon rainforest. Justino\, a 45 years old Desana native\, works as a security guard at the cargo port. Since the death of his wife\, his main company is his youngest daughter with whom he lives in a modest house on the outskirts of town. Nurse at a health clinic\, Vanessa is accepted to study medicine in Brasilia and will need to be leaving soon. \nAs the days go by\, Justino is overcome by a strong fever. During the night\, a mysterious creature follows his footsteps. During the day\, he fights to stay awake at work. But soon the tedious routine of the harbor is broken by the arrival of a new guard. Meanwhile\, his brother’s visit makes Justino remember the life in the forest\, from where he left twenty years ago. Between the oppression of the city and the distance of his native village\, Justino can no longer endure an existence without place.
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-maya-darin/
LOCATION:Sever Hall 416\, Harvard Yard\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2019/09/The-Fever-1.jpg
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DTSTART;TZID=UTC:20200303T180000
DTEND;TZID=UTC:20200303T180000
DTSTAMP:20200213T202413Z
CREATED:20190910T224020Z
LAST-MODIFIED:20200213T202413Z
UID:16321-1583258400-1583258400@filmstudycenter.fas.harvard.edu
SUMMARY:The FSC Nonfiction Workshop presents Roberto Minervini
DESCRIPTION:Photographer\, filmmaker and music producer Roberto Minervini (1970\, Italy) is a US-based film director\, writer and lecturer. He holds a Master in Media Studies from the New School University in New York. His Stop the Pounding Heart (2013) was screened in Rotterdam and Cannes. The Other Side (2015) was screened in the Un Certain Regard competition at Cannes. His documentary What You Gonna Do When the World’s on Fire? (2018) screened in the main competition section of the 75th Venice International Film Festival.\n \nWhat You Gonna Do When the World’s on Fire? (2018)\n123 min.\n \nMinervini’s follow-up to his Texas Trilogy is a portrait of African-Americans in New Orleans struggling to maintain their unique cultural identity and to find social justice. Shot in very sharp black and white\, the film is focused on Judy\, trying to keep her family afloat and save her bar before it’s snapped up by speculators; Ronaldo and Titus\, two brothers growing up surrounded by violence and with a father in jail; Kevin\, trying to keep the glorious local traditions of the Mardi Gras Indians alive; and the local Black Panthers\, trying to stand up against a new\, deadly wave of racism. This is a passionately urgent and strangely lyrical film experience. – Film at Lincoln Center
URL:https://filmstudycenter.fas.harvard.edu/event/the-fsc-nonfiction-workshop-presents-roberto-minervini/
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/2019/09/What-You-Gonna-Do-When-the-World’s-on-Fire-16x9.jpg
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