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BEGIN:VEVENT
DTSTART;TZID=UTC:20191021T180000
DTEND;TZID=UTC:20191021T200000
DTSTAMP:20191018T011256Z
CREATED:20190910T224020Z
LAST-MODIFIED:20191018T011256Z
UID:16063-1571680800-1571688000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Voices of the Rainforest with Steven Feld
DESCRIPTION:In partnership with Documentary Educational Resources (DER)\, a center for documentary anthropology and ethnographic film based in nearby Watertown\, the Harvard Art Museums present the new documentary film “Voices of the Rainforest\,” in 7.1 surround sound. \nDirected and produced by acclaimed ethnomusicologist Steven Feld\, “Voices of the Rainforest” is an experiential documentary about the ecological and aesthetic coevolution of Papua New Guinea’s Bosavi rainforest region and its inhabitants. Through sound and image\, the film immerses viewers in the rainforest\, making myriad connections between the everyday sounds of the rainforest biosphere and the creative practices of the Bosavi people who sing to\, with\, and about it. \nThe film is based on Feld’s 1991 acousmatic composition of the same name\, which condensed 24 hours of sounds of the rainforest and the Bosavi people into an hour. Produced by Grateful Dead drummer Mickey Hart\, the piece was digitized and recomposed into a surround-sound experience and performed at the Harvard Art Museums in 2017. The success of the soundtrack prompted the digitization of Feld’s archive of Bosavi images and a two-month trip to Bosavi by Feld and filmmaker Jeremiah Richards\, who brought high-resolution cameras and drones to renew the project. \nFollowing the screening\, Steven Feld will discuss the film with Amahl Bishara\, associate professor of anthropology at Tufts University. \nCo-sponsored by Documentary Educational Resources\, the Peabody Museum of Anthropology and Ethnology\, the Film Study Center at Harvard University\, the Critical Media Practice secondary field\, and the Harvard Art Museums.
URL:https://filmstudycenter.fas.harvard.edu/event/film-voices-of-the-rainforest-with-steven-feld/
LOCATION:Harvard Art Museums\, Menschel Hall\, Lower Level\, 32 Quincy Street\, Cambridge\, MA\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2018/09/voices-of-the-rainforest.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20191005T190000
DTEND;TZID=UTC:20191005T210000
DTSTAMP:20210119T210110Z
CREATED:20190909T002251Z
LAST-MODIFIED:20210119T210110Z
UID:16174-1570302000-1570309200@filmstudycenter.fas.harvard.edu
SUMMARY:Mama Colonel by Dieudo Hamadi at the HFA
DESCRIPTION:Mama Colonel\nDirector in Person\n$12 Special Event Tickets/Free Admission for students with Harvard ID\nDirected by Dieudo Hamadi.\nDRC/France\, 2017\, DCP\, color\, 72 min.\nLingala\, Swahili and French with English subtitles. \nDieudo Hamadi is the 2019-20 McMillan-Stewart Fellow in Distinguished Filmmaking at the Film Study Center at Harvard University. \nFirst seen in Tolérance zero\, where she combatted violence against women in the context of a special police brigade\, Honorine Munyole\, now a colonel\, selflessly leads a vigorous campaign against rape and the mistreatment of children in the provincial capital of Bukavu. She has instated a number of mechanisms for their protection and solidarity\, including refuges for the most vulnerable. But she is transferred to a larger city\, Kisangani\, also Hamadi’s birthplace. Supported by a small group of police officers\, she has to convince residents to report the numerous crimes that take place in the city’s disadvantaged neighborhoods and find safe havens for those who need them. Two wounds are particularly active. One is the “six-day war” that ravaged the city in 2000\, during which many women were raped\, their husbands and sons killed\, and all their possessions destroyed or stolen. Some of them now find themselves with children born out of that atrocity. Another is that of a family structure in which men frequently disappear for multiple reasons\, which correlates with innumerable abuses inflicted on children who are then accused of sorcery to legitimate the mistreatment. With an impressive level of determination and skill\, and well aware of the limitations of her efforts\, Maman Colonelle tirelessly struggles against this tight web of poverty\, violence\, obscurantism and egotism. From the precinct to the slums\, from the markets where Colonel Honorine berates shopkeepers to negotiations with public figures looking to appropriate the benefits of her work\, and even into the privacy of her home\, Hamadi stays close by his heroine. She becomes a mirror for a diseased society\, but one that nonetheless pulsates with admirable forces of life.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-screening-mama-colonel-with-dieudo-hamadi/
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/2019/07/MAMA-COLONEL-03_Image-courtesy-Icarus-Films_SM-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20191004T190000
DTEND;TZID=UTC:20191004T210000
DTSTAMP:20210119T210021Z
CREATED:20190909T002251Z
LAST-MODIFIED:20210119T210021Z
UID:16173-1570215600-1570222800@filmstudycenter.fas.harvard.edu
SUMMARY:Kinshasa Makambo by Dieudo Hamadi at the HFA
DESCRIPTION:Kinshasa Makambo\nDirector in Person\nReception following screening\n$12 Special Event Tickets/Free Admission to students with  Harvard ID\nDirected by Dieudo Hamadi.\nDRC/France/Switzerland/Germany/Qatar/Norway\, 2018\, DCP\, color\, 75 min.\nLingala and French with English subtitles. \nDieudo Hamadi is the 2019-20 McMillan-Stewart Fellow in Distinguished Filmmaking at the Film Study Center at Harvard University. \n“My country is an open-air prison\,” says Dieudo Hamadi. In 2015\, the constitution had provided for a least a change of prison warden\, but Joseph Kabila\, president dictator of the Democratic Republic of Congo\, decided to change the constitution. Young people from major cities flood the streets in a protest of unprecedented scale. The film follows three activists in particular: Christian\, Ben and Jean-Marie. In an impressive demonstration of physical courage\, on par with that of his subjects\, Dieudo Hamadi experiences at close range the deadly clashes with police and army\, who shoot with real bullets. But he is also embedded in the daily lives of these young people who receive regular threats and criticism from their families and must face the doubts and fears of a situation of extreme violence that seems unlikely to end. Kinshasa Makambo also reveals the internal debates of these protestors as they seek to extend their movement without succumbing to repression and coercion. Closely inscribed within a particular historical and geographical reality\, this film—whose director makes the unconditional choice throughout to remain next to his protagonists—also reflects more broadly on the forms of political engagement. \nAlthough they share in the same struggle\, the three protagonists do not have the same analysis on how to continue to their fight: one chooses to join an opposition political party\, which\, in spite of its limitations\, represents a possibility of acceding to power; another sticks to his uncompromising opposition to a corrupt system; the third looks to alternative forms of organization for possible answers. Through Hamadi’s lens\, these ideas take shape through words\, looks and gestures in an intensely vital and moving way. \nWe hope you will join us for a reception after the screening of “Kinshasa Makambo” on Friday\, Oct. 4th.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-screening-kinshasa-makambo/
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/2019/07/Kinshasa_700x700.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190419T190000
DTEND;TZID=UTC:20190419T213000
DTSTAMP:20190115T012740Z
CREATED:20190115T012251Z
LAST-MODIFIED:20190115T012740Z
UID:15281-1555700400-1555709400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening with Amar Kanwar
DESCRIPTION:Check back for more information on this screening coming soon. \n  \nAmar Kanwar has distinguished himself through films and multi-media works\, which explore the politics of power\, violence and justice. His multi-layered installations originate in narratives often drawn from zones of conflict and are characterized by a unique poetic approach to the personal\, social and political. \nThis event is in collaboration with the Harvard Film Archive\, The Carpenter Center for the Visual Arts\, and The Lakshmi Mittal and Family South Asia Institute\, Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-with-amar-kanwar/
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/2019/01/sceneofcrime1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190411T190000
DTEND;TZID=UTC:20190411T210000
DTSTAMP:20190328T210001Z
CREATED:20190328T205716Z
LAST-MODIFIED:20190328T210001Z
UID:15347-1555009200-1555016400@filmstudycenter.fas.harvard.edu
SUMMARY:Between the Human Animal and the Animate Earth
DESCRIPTION:A screening of the new documentary\, Becoming Animal (directed by Peter Mettler and Emma Davie) about the work of cultural ecologist David Abram (author of The Spell of the Sensuous)\, followed by an open conversation with David Abram and Lucien Castaing-Taylor (Director of Harvard’s Sensory Ethnography Lab). \n 
URL:https://filmstudycenter.fas.harvard.edu/event/between-the-human-animal-and-the-animate-earth/
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/2019/03/BecAnimal-A_1.1.2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190207T190000
DTEND;TZID=UTC:20190207T220000
DTSTAMP:20210108T001207Z
CREATED:20190114T232751Z
LAST-MODIFIED:20210108T001207Z
UID:15243-1549566000-1549576800@filmstudycenter.fas.harvard.edu
SUMMARY:An Evening with Anocha Suwichakornpong
DESCRIPTION:By the Time It Gets Dark (Dao khanong) \nDirected by Anocha Suwichakornpong. With Arak Amornsupasiri\, Apinya Sakuljaroensuk\, Achtara Suwan\nThailand 2016\, DCP\, color\, 105 min. Thai with English subtitles. Free Admission. \n  \nPlease join us for an evening with Film Study Center fellow and VES visiting faculty member Anocha Suwichakornpong. Anocha will be present for a post screening Q&A and reception following the film. Co-sponsored by The Film Study Center\, The Visual and Environmental Studies Department\, and the Thai Studies Program. \n  \n“Suwichakornpong’s new film bravely tackles a subject long taboo for Thai artists and writers: the Thammasat University Massacre of 1976\, in which a still-unconfirmed number of protesting students were brutally murdered by the military. Rather than a head-on confrontation with the horrific incident\, however\, By the Time It Gets Dark takes a more nuanced and digressive path\, interweaving the seemingly disconnected stories of a filmmaker researching the massacre together with those of a young pop star and a melancholy maid who drifts enigmatically throughout the film. What unites these different characters\, Suwichakornpong seems to suggest\, is the still-pulsing trauma of history that has been denied yet not forgotten. In its lyrical interweaving of character narrative and documentary interludes\, and in its pixel-imploding ending\, By the Time It Gets Dark goes further still by suggesting the limits of the dizzying image world that we increasingly inhabit and the ways in which cinema might give a safe place for local histories and personal memories to be kept alive.” – Haden Guest\, Harvard Film Archive \n  \n“A head-spinning tour de force … elliptically political\, frequently perplexing\, yet fluid enough in its possibilities to allow each viewer to divine their own meanings from its quicksilver forms” – Mark Kermode\, The Guardian
URL:https://filmstudycenter.fas.harvard.edu/event/an-evening-with-anocha-suwichakornpong/
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/2019/01/time-it-gets-dark-2016-004-man-woman-backs-1.jpg
ORGANIZER;CN="":MAILTO:cerussell@fas.harvard.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180928T190000
DTEND;TZID=UTC:20180928T210000
DTSTAMP:20210108T001328Z
CREATED:20180921T194652Z
LAST-MODIFIED:20210108T001328Z
UID:15132-1538161200-1538168400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening & Conversation: Ali Cherri
DESCRIPTION:Moving-Image Work + Ali Cherri in Conversation with Lucien Castaing-Taylor  \nWorking across a wide range of different media\, Lebanese artist Ali Cherri (b. 1976) has steadily explored his native land as a political\, geographical\, climatic and religious territory. Whether investigating archaeological and sacred sites\, borders or seismic fault lines\, Cherri has searched for new ways to map and imagine Lebanon and its place within the Middle East. His recent solo exhibitions include Somniculus at Jeu de Paume\, Paris and CAPC musée d’art contemporain de Bordeaux (2017); Galerie Imane Farès (Oct. 2017); and Sursock Museum\, Beirut (2016). His films have been shown in international film festivals including New Directors/New Films MoMA NY; Cinéma du Réel\, Centre Pompidou; CPH:DOX (winner of NewVision Award) amongst others. Ali Cherri lives and works in Paris and Beirut. \n  \nUn Cercle autour du Soleil\nDirected by Ali Cherri\nNetherlands 2005\, digital video\, color\, 15 min. In English \nIn a cyclical structure from dark to light\, “Un Cercle autour du Soleil” is a reflection on growing up in Beirut during the civil war years\, and adapting to the “post war” life: accepting the body that is in ruin\, and learning to live in the city that is always already in ruin. – Ali Cherri \n  \nPipe Dreams\nDirected by Ali Cherri\nFrance/Lebanon 2011\, digital video\, color\, 7 min. Arabic with English subtitles \nBetween dreamscapes and reality this video is a journey in three chapters\, on the backdrop of the uprising in the Arab world. A Rise\, a Decline\, and a Fall that would create a tabula rasa and a new start. “Sometimes dreams have to hurt before they become reality” – AC \n  \nThe Disquiet\nDirected by Ali Cherri\nFrance/Lebanon 2013\, digital video\, color\, 20 min. Arabic with English subtitles \nEarth-shattering events are relatively par for the course in Lebanon\, with war\, political upheaval and a number of social revolts. While the Lebanese focus on surface-level events that could rock the nation\, few realize that below the ground we walk on\, an actual shattering of the earth is mounting. Lebanon stands on several major fault lines\, which are cracks in the earth’s crust. This film investigates the geological situation in Lebanon\, trying to look for the traces of the imminent disaster. – AC \n  \nThe Digger\nDirected by Ali Cherri\nLebanon/France/UAE 2015\, digital video\, color\, 24 min. Arabic and Pashto with English subtitles \nFor twenty years\, Sultan Zeib Khan has kept watch over a ruined Neolithic necropolis in the Sharjah desert in the United Arab Emirates. Although majestic\, the wide-angle shots have no monumentalising intent: the beauty and extent of the site speak for themselves. What is playing out here is the possibility for one man to become part of a landscape that overwhelms him yet seems to need his help. Seen under the silhouette of a rock about to devour him or as a dwarfed figure spade in hand walking from the back of the frame\, Sultan curiously busies himself from day to day to prevent the ruins… from falling into ruin. Hamlet’s words in the famous gravedigger scene come to mind: “Has this fellow no feeling of his business? He sings at grave-making.” But here the human remains have long since become archaeological artefacts: the highly luminous outside sequences alternate with shots inside a museum where the bones are sorted and laid out for the visitor’s eye. The switching between day and night but also the soundscape of the man’s singing and the sound of his transistor radio suggest that even the greatest solitude can allow itself be inhabited. Above all\, it underlines the paradox of these empty tombs\, where death is compounded by the absence of the relics. – Charlotte Garson \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-conversation-ali-cherri/
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/2018/09/TheDigger_Ali_Cherri_2015-01_sm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180303T190000
DTEND;TZID=UTC:20180303T190000
DTSTAMP:20210116T053854Z
CREATED:20180128T095044Z
LAST-MODIFIED:20210116T053854Z
UID:14524-1520103600-1520103600@filmstudycenter.fas.harvard.edu
SUMMARY:Aujourd’hui (Tey) by Alain Gomis at the HFA
DESCRIPTION:Free Admission \nFILMMAKER IN PERSON \n  \nAujourd’hui (Tey) \nDirected by Alain Gomis. With Saul Williams\, Djolof Mbengue\, Anisia Uzeyman \nFrance/Senegal 2012\, 35mm\, color\, 86 min. French and Wolof with English subtitles \nHow would you spend your last day on earth if you knew exactly when your life would end? So asks Gomis in this gentle existential parable that finds a man given the knowledge of his death and the freedom to live his last hours exactly as he pleases. Taking almost mythological form\, Aujourd’hui follows the course of this final day as its hero first stands before the judgment of family members and then steps out into the streets of Dakar animated by an intense appreciation of all that passes before his eyes and ears. For his lead actor\, Gomis made the unexpected choice of American slam poet Saul Williams\, whose inability to understand either French or Wolof makes hauntingly real his floating distance from the fleeting world and the flood of emotions\, accusations and regrets that color his poignant encounters with family\, friends and lovers. Embracing a kind of stream-of-consciousness flow as it wanders with Williams on an emotional itinerary\, Aujourd’hui is also punctuated by intense documentary style—sequences that look beyond its death-driven hero to reveal enraged protesters against the corrupt presidency of Abdoulaye Wade. In these moments\, Gomis seemingly refuses his own film’s Felliniesque oneirism by reminding us of the stark instability and injustice that has gripped Senegal in recent times. \n  \nPreceded by \n  \nLittle Light (Petite Lumière) \nDirected by Alain Gomis. With Assy Fall\, Djolof Mbengue\, Thierno Ndiaye \nFrance/Senegal 2013\, DCP\, color\, 15 min. French and Wolof with English subtitles \nThe films of Alain Gomis (b. 1972) define a richly cinematic mode of narrative portraiture. Each of his four features centers around willful characters overwhelmed by difficult circumstances that force them to question their place within a world that seems indifferent and even hostile to their plight. From the Senegalese graduate student in Gomis’ first film L’Afrance\, who must decide whether to stay in Paris without papers\, to the mother in his newest feature Félicité\, whose desperate situation drives her to seek help from friends\, family and strangers alike\, Gomis’ protagonists suddenly find themselves radically disoriented\, no longer able to find a stability within a place they once called home. Ultimately\, L’Afrance and Félicité—as well as Andalucia and Aujourd’hui—expand to pointedly question the relationship of the individual and citizen to an uncaring state while also examining the tensions and contradictions of the multi-ethnic and multi-tribal local communities redefining French and African cities today. A fascination with the vitality and dangers of urban life gives Gomis’ films a distinct rhythm and energy as they poetically alternate between the almost stream-of-consciousness perspective of their drifting characters and raw\, verité scenes of unruly\, violent city streets. \nBorn in France into a Senegalese and Bissau-Guinean family\, Alain Gomis has divided his films between France and Francophone Africa\, offering a unique vista over the sharp differences and deep bonds that continue to define the relationship between Europe and its former colonies. In many ways the extreme sensitivity of his characters—who hear\, touch and see their world with an acute yet wandering attention—embodies the same position and argument as Gomis’ humanist cinema\, which gives dignity and moving voice to lives made difficult by socioeconomic and historical injustices while pointing to the world beyond his compelling characters and their urgent stories\, toward that vital place glimpsed only from the edge of the story and frame. \nTogether with the Film Study Center and the McMillan-Stewart Foundation\, the Harvard Film Archive is proud to welcome Alain Gomis as the winner of the Film Study Center’s 2018 Geneviève McMillan-Reba Stewart Fellowship in Distinguished Filmmaking. – Haden Guest\, Director of the Harvard Film Archive \nMore details on all events with Alain Gomis here.
URL:https://filmstudycenter.fas.harvard.edu/event/the-mcmillan-stewart-fellowship-alain-gomis-4/
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/2018/01/aujourd-hui-e1518820021444.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180302T190000
DTEND;TZID=UTC:20180302T190000
DTSTAMP:20210116T045707Z
CREATED:20180128T094714Z
LAST-MODIFIED:20210116T045707Z
UID:14521-1520017200-1520017200@filmstudycenter.fas.harvard.edu
SUMMARY:Félicité by Alain Gomis at the HFA
DESCRIPTION:Free Admission \nFILMMAKER IN PERSON \nPlease join us for a reception honoring Alain Gomis after the screening \n  \nFélicité \nDirected by Alain Gomis. With Véro Tshanda Beya Mputu\, Gaetan Claudia\, Papi Mpaka
France/Belgium/Senegal/Germany/Lebanon 2017\, DCP\, color\, 129 min. Lingala and French with English subtitles \nGomis’ latest work stars Congolese singer Véro Tshanda Beya Mputu in her first film role as a nightclub singer and mother whose life is suddenly turned overturned by the near-fatal accident of her wayward son. Following in the footsteps of Pasolini\, Bong Joon-Ho and Ripstein-Garciadiego\, Gomis invents an indelible maternal figure who vividly embodies the hard truths and paradoxes of motherhood: the crushing burden of responsibility; the festering resentment between mother and offspring; and the love that nevertheless grows between them\, like a stubborn root in rocky soil. Making innovative use of music\, Félicité adds a new dimension to Gomis’ cinema by offsetting Mputu’s captivating vocal performances with her real-life collaborators\, the Kasai Allstars\, against a moody and contrapuntal score provided by a local orchestra whose music floats up to accompany Mputu at some of her most difficult moments. Here\, and in unexplained nocturnal dream or fantasy sequences\, Gomis holds up melodrama as a construct—pointing to the role of melos\, or music\, to elicit emotion and empathy. Winner of top prizes in both Berlin and FESPACO\, Africa’s most important film festival\, Félicité offers both a moving portrait of resilience and an indictment of the corruption and violence that colors everyday life in the Democratic Republic of Congo. \nThe films of Alain Gomis (b. 1972) define a richly cinematic mode of narrative portraiture. Each of his four features centers around willful characters overwhelmed by difficult circumstances that force them to question their place within a world that seems indifferent and even hostile to their plight. From the Senegalese graduate student in Gomis’ first film L’Afrance\, who must decide whether to stay in Paris without papers\, to the mother in his newest feature Félicité\, whose desperate situation drives her to seek help from friends\, family and strangers alike\, Gomis’ protagonists suddenly find themselves radically disoriented\, no longer able to find a stability within a place they once called home. Ultimately\, L’Afrance and Félicité—as well as Andalucia and Aujourd’hui—expand to pointedly question the relationship of the individual and citizen to an uncaring state while also examining the tensions and contradictions of the multi-ethnic and multi-tribal local communities redefining French and African cities today. A fascination with the vitality and dangers of urban life gives Gomis’ films a distinct rhythm and energy as they poetically alternate between the almost stream-of-consciousness perspective of their drifting characters and raw\, verité scenes of unruly\, violent city streets. \nBorn in France into a Senegalese and Bissau-Guinean family\, Alain Gomis has divided his films between France and Francophone Africa\, offering a unique vista over the sharp differences and deep bonds that continue to define the relationship between Europe and its former colonies. In many ways the extreme sensitivity of his characters—who hear\, touch and see their world with an acute yet wandering attention—embodies the same position and argument as Gomis’ humanist cinema\, which gives dignity and moving voice to lives made difficult by socioeconomic and historical injustices while pointing to the world beyond his compelling characters and their urgent stories\, toward that vital place glimpsed only from the edge of the story and frame. \nTogether with the Film Study Center and the McMillan-Stewart Foundation\, the Harvard Film Archive is proud to welcome Alain Gomis as the winner of the Film Study Center’s 2018 Geneviève McMillan-Reba Stewart Fellowship in Distinguished Filmmaking. – Haden Guest\, Director of the Harvard Film Archive \nMore details on all events with Alain Gomis here.
URL:https://filmstudycenter.fas.harvard.edu/event/the-mcmillan-stewart-fellowship-alain-gomis-3/
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/2018/01/felicite_02_c_celine_bozon.jpg-h_2017-e1519043188501.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180216T190000
DTEND;TZID=UTC:20180216T190000
DTSTAMP:20210116T045218Z
CREATED:20180128T084716Z
LAST-MODIFIED:20210116T045218Z
UID:14514-1518807600-1518807600@filmstudycenter.fas.harvard.edu
SUMMARY:L’Afrance by Alain Gomis at the HFA
DESCRIPTION:Free Admission \n  \nL’Afrance \nDirected by Alain Gomis. With Djolof Mbengue\, Delphine Zingg\, Samir Guesmi \nFrance/Senegal 2001\, 35mm\, color\, 90 min. French with English subtitles \nL’Afrance tells a tragically familiar tale of victimization by uncaring immigration laws as it follows the vertiginous voyage of an idealistic Senegalese exchange student\, El-Hadj\, studying in Paris and abruptly transformed into an illegal immigrant when he carelessly allows his visa to expire. Offering El-Hadj as an emblem of the uncertainty faced by so many Africans in Europe\, Gomis lingers upon the stark and moral decisions that force El-Hadj to question his national identity and allegiances while destabilizing his closest relationship. The film’s striking opening—the recording and playing back of a cassette “letter” from the student’s parents in Senegal—stands alone as an evocative poem of the sense of displacement and longing that defines so many immigrants’ experiences. \nThe films of Alain Gomis (b. 1972) define a richly cinematic mode of narrative portraiture. Each of his four features centers around willful characters overwhelmed by difficult circumstances that force them to question their place within a world that seems indifferent and even hostile to their plight. From the Senegalese graduate student in Gomis’ first film L’Afrance\, who must decide whether to stay in Paris without papers\, to the mother in his newest feature Félicité\, whose desperate situation drives her to seek help from friends\, family and strangers alike\, Gomis’ protagonists suddenly find themselves radically disoriented\, no longer able to find a stability within a place they once called home. Ultimately\, L’Afrance and Félicité—as well as Andalucia and Aujourd’hui—expand to pointedly question the relationship of the individual and citizen to an uncaring state while also examining the tensions and contradictions of the multi-ethnic and multi-tribal local communities redefining French and African cities today. A fascination with the vitality and dangers of urban life gives Gomis’ films a distinct rhythm and energy as they poetically alternate between the almost stream-of-consciousness perspective of their drifting characters and raw\, verité scenes of unruly\, violent city streets. \nBorn in France into a Senegalese and Bissau-Guinean family\, Alain Gomis has divided his films between France and Francophone Africa\, offering a unique vista over the sharp differences and deep bonds that continue to define the relationship between Europe and its former colonies. In many ways the extreme sensitivity of his characters—who hear\, touch and see their world with an acute yet wandering attention—embodies the same position and argument as Gomis’ humanist cinema\, which gives dignity and moving voice to lives made difficult by socioeconomic and historical injustices while pointing to the world beyond his compelling characters and their urgent stories\, toward that vital place glimpsed only from the edge of the story and frame. \nTogether with the Film Study Center and the McMillan-Stewart Foundation\, the Harvard Film Archive is proud to welcome Alain Gomis as the winner of the Film Study Center’s 2018 Geneviève McMillan-Reba Stewart Fellowship in Distinguished Filmmaking. – Haden Guest\, Director of the Harvard Film Archive \nMore details on all events with Alain Gomis here
URL:https://filmstudycenter.fas.harvard.edu/event/the-mcmillan-stewart-fellowship-alain-gomis/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
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BEGIN:VEVENT
DTSTART;TZID=UTC:20171201T190000
DTEND;TZID=UTC:20171201T190000
DTSTAMP:20180128T192911Z
CREATED:20171106T042444Z
LAST-MODIFIED:20180128T192911Z
UID:13803-1512154800-1512154800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening & Artist Talk: OUROBOROS by Basma Alsharif
DESCRIPTION:OUROBOROS BY BASMA ALSHARIF\nScreening + Q&A\nDec. 1\, 2017 7pm\nHarvard Film Archive \nIn her first feature length film Ouroboros\, Basma Alsharif pays homage to the Gaza Strip\, upending mass-mediated representations of trauma. Journeying outside of time\, the allegorical narrative is based on the eternal return and how we move forward when all is lost. – Whitney Museum of American Art
URL:https://filmstudycenter.fas.harvard.edu/event/screening-artist-talk-ouroborosby-basma-alsharif-2/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
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BEGIN:VEVENT
DTSTART;TZID=UTC:20171130T180000
DTEND;TZID=UTC:20171130T200000
DTSTAMP:20180128T192904Z
CREATED:20171106T030926Z
LAST-MODIFIED:20180128T192904Z
UID:13796-1512064800-1512072000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening & Artist Talk: OUROBOROSby Basma Alsharif
DESCRIPTION:Basma Alsharif presents an evening of texts\, sounds\, and images as references and influences for her first feature-length film Ouroboros\, which screens at the Harvard Film Archive on Fri\, Dec 1\, 7 pm. \nThe event includes excerpts from Pier Paolo Pasolini’s documentary Location Hunting in Palestine\, a brief reading from Carlo Levi’s Christ Stopped at Eboli\, and sounds by musician Yann Gourdon. Also included is Alsharif’s short film Home Movies Gaza (2013\, 24 min)\, in which she captures the private and public spheres of the Gaza Strip. \nDrawing a line through the Ouroboros with Basma Alsharif is presented in collaboration with Carpenter Center for the Visual Arts\, the Harvard Film Archive and the Film Study Center at Harvard.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-artist-talk-ouroborosby-basma-alsharif/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening & Artist Talk
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