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DTSTART;TZID=America/New_York:20261006T180000
DTEND;TZID=America/New_York:20261006T210000
DTSTAMP:20260923T171327Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260923T171327Z
UID:21403-1791309600-1791320400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Bardi with Tala Hadid in Person
DESCRIPTION:Please join the Film Study Center\, in collaboration with the Sensory Ethnography Lab\, for a special screening and conversation with Tala Hadid  and her new film Bardi\, which is premiering at the New York Film Festival.\n \nFilmmaker and photographer Tala Hadid immersed herself in the rugged\, fraternal world of a group of horse-riders in central Morocco for this visually rapturous work that merges portraiture and fabulation. With thrilling camerawork\, Hadid accompanies the men as they take part in Tbourida\, an equestrian military ritual that dates to the 16th century and allows them to transform into new personas. As the itinerant group rides across the country\, Hadid captures with a mix of intimacy and epic grandeur their geographically expansive yet emotionally enclosed universe\, with its codes of behavior and fully embodied performances of masculinity. Hadid\, whose previous films include the short Your Dark Hair Ihsan (NYFF43) and the feature House in the Fields\, about the Amazigh of Morocco\, is fascinated with how people within communities encounter tradition\, myth\, and the self; Bardi is a majestic work of earthy imagination that transcends time and landscape.  – New York Film Festival\n \nTala Hadid is a photographer and filmmaker and made her first feature documentary film\, Sacred Poet\, on the italian poet and filmmaker Pier Paolo Pasolini. Her films have screened at film festivals around the world\, including Berlin and Venice and shown\, among other venues\, at the MoMA and Lincoln Center in NYC\, The Walker Arts Center in Minneapolis\, La Cinémathèque Française in Paris\, the Smithsonian Museum\, the National Museum of Women in the Arts in Washington D.C\, the Los Angeles County Museum and the Photographer’s Gallery in London. Her films have received numerous awards\, including a student Oscar from the Academy of Motion Picture Arts and Sciences. In 2013\, the Fine Art photography publisher Stern published a volume of a selection of Hadid’s photographs from her project Heterotopia as part of its Stern Fotografie Portfolio series of emerging photographers. In 2014\, Hadid completed work on Itarr el Layl. The award-winning film premiered at the Toronto film Festival and went on to screen at numerous film festivals and venues around the world\, including the Lincoln Center in New York\, the Rome Film Festival\, and the London Film Festival. In 2017\, Hadid’s project House in the Fields was an official selection at the Berlin Film Festival where it was nominated for the Glashütte Original Documentary Award. The film was also the recipient\, among other prizes\, of the Commune di Milano prize for best feature film at the 2017 FCAAL Milano Film Festival\, the Prize for Best Documentary film at the Hong Kong International Film Festival\, the Fiction/Non Fiction award at Millennium Docs against Gravity in Warsaw\, the 2M Grand Prize at FIDADOC 2017\, the 2017 John Marshall Award in the US\, the Special Jury Prize at the 2018 National Film Festival in Tangiers\, and the Grand Prize of the city at the 2018 International Mediterranean Film Festival of Tetouan. In 2019 Hadid worked on a permanent video installation at the Qatar National Museum by architect Jean Nouvel. In the same year she participated in the 2019 Rabat Biennale with her installation entitled Floodplain. In 2025 and 2026 Hadid served as a visiting faculty member in the department of Art\, Film and Visual Studies at Harvard University. Her photo and video installation Sphere\, created in collaboration with choreographer Bouchra Ouizguen\, will premiere at the Menagerie de Verre as part of the Festival d’Automne in Paris in winter 2026. Her new feature film\, Bardi\, is forthcoming. Hadid’s work is included in the Ruben Bentsov Moving Image Collection at the Walker Museum. She is a member of the Academy of Motion Picture Arts and Sciences. \n\n\n\n\nimage: still from Bardi \n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-bardi-with-tala-hadid-in-person/
LOCATION:Carpenter Center Theater\, CCVA\, level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Stallionn©-Tala-Hadid-2026-scaled-e1790183600164.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260929T150000
DTEND;TZID=America/New_York:20260929T170000
DTSTAMP:20260922T200903Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260922T200903Z
UID:21386-1790694000-1790701200@filmstudycenter.fas.harvard.edu
SUMMARY:Creative processes: embracing fragility\, intimacy and singularity | with producer Andrea Queralt
DESCRIPTION:Please join us for a masterclass with producer Andrea Queralt\, presented by The Film Study Center\, Sensory Ethnography Lab\, Critical Media Practice\, AFVS 150\, and AFVS 99 present. \n\n\nANDREA QUERALT\n\nBorn in Spain\, based in Paris\, since 2015 she is part of 4A4 Productions\, where she has co-produced Sirāt by Oliver Laxe (Jury Prize\, Cannes Competition 2025)\, A Day in the Life of Jo: Chapter Phaedra by Jacqueline Lentzou (Venice Orizzonti – Best Director 2026)\, Mare’s Nest by Ben Rivers (Locarno Competition 2025)\, Pepe by Nelson Carlo de los Santos Arias (Silver Bear\, Berlinale 2024)\, Foremost by Night by Victor Iriarte (Venice Days 2023) and Fire Will Come by Oliver Laxe (Jury Prize\, Cannes Un Certain Regard 2019)\, among others. \n\n\n\nAlongside her producing work\, since 2025 she is also coordinator at FIDLab in Marseille. She has led workshops at CalArts\, Harvard Film Study Center\, La Fémis (Paris)\, UPF Documentary Master\, Márgenes Madrid\, ESAV Marrakech or Tabakalera San Sebastián. \n\n\nimage: still from Sirāt \n 
URL:https://filmstudycenter.fas.harvard.edu/event/creative-processes-embracing-fragility-intimacy-and-singularity-with-producer-andrea-queralt/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Sirat-Film-Still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260916T150000
DTEND;TZID=America/New_York:20260916T163000
DTSTAMP:20260831T161125Z
CREATED:20260831T152832Z
LAST-MODIFIED:20260831T161125Z
UID:21351-1789570800-1789576200@filmstudycenter.fas.harvard.edu
SUMMARY:HFA Tour and Research Info Session
DESCRIPTION:To welcome new students\, staff\, faculty\, and artists in the AFVS\, FSC\, and CMP community\, please join us for an introduction to the Harvard Film Archive focused on the HFA’s collection. We’ll go over how to find material and arrange use for classroom screenings\, individual research\, and filmmaking projects. This informal tour & information session is open to all who are interested. \nWHEN: Wednesday\, September 16 from 3:00 to 4:00pm\, with optional time for more focused questions from 4:00 to 4:30pm. \nWHERE: We’ll meet on the lower level of the Carpenter Center at the bottom of the stairs / in front of the theater. \nAGENDA: We’ll start with a short tour of the HFA collection spaces in the Carpenter Center and then move into CCVA classroom B-04 for an introduction to the collections\, focusing on how to locate material and request and arrange use for your classes and projects. \nFeel free to join for all or part of the event\, and if you can’t make it but are interested in learning more about the HFA\, please reach out to HFA collections archivist Amy Sloper.
URL:https://filmstudycenter.fas.harvard.edu/event/hfa-tour-and-research-info-session/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/10/IMG_7428-scaled-e1759765105233.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260409T180000
DTEND;TZID=America/New_York:20260409T210000
DTSTAMP:20260401T160433Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260401T160433Z
UID:21107-1775757600-1775768400@filmstudycenter.fas.harvard.edu
SUMMARY:The Dutchman: Screening and Conversation
DESCRIPTION:Please join ArtsThursdays\, the Film Study Center\, and the Black Film Project of the Hutchins Center for African & African American Research for a special screening of The Dutchman with director\, producer\, and co-writer Andre Gaines. \nThe Dutchman features Black Film Project fellow André Holland as a successful black businessman who\, haunted by an identity crisis and his crumbling marriage\, is drawn into a sexualized game of cat and mouse with a mysterious white woman on a subway\, leading to a violent conclusion. \nAndre Gaines is a two-time Emmy®-nominated producer\, writer and director. Through his company Cinemation Studios\, Gaines has produced and financed an extensive number of documentary and narrative films\, including The Lady and the Dale on HBO\, Stephen King’s Children of the Corn reboot\, and The One and Only Dick Gregory on Showtime. Gaines made his feature film directorial debut with The Dutchman\, an adaptation of Amiri Baraka’s Obie Award winning 1964 play. The Dutchman premiered at the SXSW Film & TV Festival and Cannes film market. \nAndré Holland is an acclaimed actor\, theater director\, and film producer. He produced and starred in High Flying Bird\, The Eddy\, Exhibiting Forgiveness and the Sundance-premiered Love\, Brooklyn. Known for his roles in Moonlight and Selma\, Holland has also appeared on Broadway in Jitney and Joe Turner’s Come and Gone. \nThis event is co-presented by the Film Study Center at Harvard University\, The Hutchins Center\, and ArtsThursdays\, a university-wide initiative supported by Harvard University Committee on the Arts (HUCA). \n\nimage: still from The Dutchman \n 
URL:https://filmstudycenter.fas.harvard.edu/event/the-dutchman-screening-and-conversation/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/dutchman_image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260304T190000
DTEND;TZID=America/New_York:20260304T210000
DTSTAMP:20260224T003251Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260224T003251Z
UID:21116-1772650800-1772658000@filmstudycenter.fas.harvard.edu
SUMMARY:Film Screening: Ali Cherri in person
DESCRIPTION:This year’s Gardner FSC Fellow\, acclaimed artist and filmmaker Ali Cherri\, will present and discuss his film work at the Carpenter Center for the Visual Arts\, hosted by the Film Study Center. Exploring different geographies of violence in his native Lebanon but also in the broader region\, Ali Cherri is a Paris-based artist with three decades of artistic practice spanning across film\, performance\, sculpture\, drawing\, and installations\, interrogating the ways in which political violence disseminates into people’s bodies and the physical and cultural landscape. Shaped by the vibrant artistic scene of postwar Beirut in the 1990s\, Cherri began to investigate the sensorial coproduction of reality between images of conflict\, the urban fabric and his own body. \nThe Dam\nDirected by Ali Cherri\, 84 min\, 2022 \nSudan\, near the Merowe dam. Maher works in a traditional brickyard fed by the waters of the Nile. Every evening\, he secretly wanders off into the desert to build a mysterious construction made of mud. While the Sudanese people rise to claim their freedom\, his creation starts to take a life of its own… \nAdmission is free \n\nCo-sponsored with the Carpenter Center for Visual Arts
URL:https://filmstudycenter.fas.harvard.edu/event/film-screening-ali-cherri-in-person/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Ali-Cherri-The-Dam-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260223T190000
DTEND;TZID=America/New_York:20260223T210000
DTSTAMP:20260108T192827Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260108T192827Z
UID:21091-1771873200-1771880400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Coconut Head Generation with Alain Kassanda in Person
DESCRIPTION:Coconut Head Generation\nDirector in Person\n$15 Special Event Tickets\nDirected by Alain Kassanda.\nFrance/Nigeria\, 2023\, DCP\, color\, 89 min.\nEnglish\, Yoruba and French with English subtitles.\nDCP source: Icarus Films \nAs modestly radical as the people it follows\, Kassanda’s feature begins at the “Thursday Film Series\,” a cinema club held by students at the University of Ibadan in Nigeria. Screening works by the likes of Hondo\, Sembene and the Black Audio Film Collective\, the energized students quickly transcend the title’s dismissive moniker given to them by the older generation and engage in respectfully fierce debates about a range of issues—unemployment\, neocolonialism\, feminism—spurred by the screenings. Allowing unfolding events guide its content and format\, Kassanda adapts to surprising upsets which include the university’s union strike\, itself soon swept up in the larger #EndSARS movement denouncing police brutality and government ineptitude\, followed shortly by its bloody suppression. Amid challenging conditions\, the students respond to systems that continually fail them through non-hierarchical\, thoughtful organizing. Kassanda not only documents but participates in bringing cinema to life through compassionate\, inspired action. \nOrder Tickets: The Harvard Film Archive
URL:https://filmstudycenter.fas.harvard.edu/event/screening-coconut-head-generation-with-alain-kassanda-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Coconut-Head-Generation_still-6_Courtesy-Icarus-Films-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260221T190000
DTEND;TZID=America/New_York:20260221T210000
DTSTAMP:20260108T192929Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260108T192929Z
UID:21089-1771700400-1771707600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Colette et Justin with Alain Kassanda in Person
DESCRIPTION:Colette et Justin\nDirector in Person\n$15 Special Event Tickets\nDirected by Alain Kassanda.\nFrance/Belgium \, 2022\, DCP\, color and b&w\, 89 min.\nFrench and Lingala with English subtitles.\nDCP source: Icarus Films \nKassanda’s first feature-length documentary stars his grandparents who lived through Belgium’s colonization and later worked at the forefront of Congolese independence. Within this dense personal archaeology and much-needed historical corrective\, the filmmaker poetically sifts through the complications and incongruities of lives under white\, western rule—using the oppressor’s own visual archive (since the colonized were not allowed to photographically document) in a delicate dance between revelatory reappropriation and traumatic re-exposure. While decoding staged productions and exposing incriminating documents\, Kassanda searches for the remains of a stolen culture and reveals a violent\, racist power structure that continues to reverberate in modern-day Kinshasa and the diaspora beyond. Meanwhile\, his grandfather\, educated and urged to excel within a rigged system\, had joined the swelling wave of citizens—including colleague Patrice Lumumba—outgrowing their circumscribed roles and visualizing a free nation. As Justin’s unexpected disclosures reveal\, breaking from patriarchy is not without great sacrifice\, and Kassanda openly wrestles with this troubling dissonance. \nOrder Tickets: The Harvard Film Archive
URL:https://filmstudycenter.fas.harvard.edu/event/screening-colette-et-justin-with-alain-kassanda-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2026/01/COLETTE-AND-JUSTIN_Courtesy-Icarus-Films_STILL-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260213T190000
DTEND;TZID=America/New_York:20260213T200000
DTSTAMP:20260108T193214Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260108T193214Z
UID:21084-1771009200-1771012800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Trouble Sleep
DESCRIPTION:Trouble Sleep\nDirected by Alain Kassanda.\nFrance/Nigeria\, 2020\, DCP\, color\, 41 min.\nYoruba and English with English subtitles.\nDCP source: Icarus Films \n“What is City? you say. / It’s the bottleneck where all our stories come together. / … It’s not a place of happiness. It’s not a place of misfortune. It’s the calabash of fate.” \nKassanda includes quotes from Patrick Chamoiseau’s exquisite novel Texaco within this kinetic sketch of Ibadan\, Nigeria’s third largest city. Featuring taxi driver Fred—who is ironically a civil engineering student—and Akin who patrols for the transport union\, the film flutters between their respective days and worlds in the crowded streets\, and a portrait of a city begins to emerge\, a city fueled by constant and complex fees and negotiations\, the mathematics of which add up to very little return on either Akin’s or Fred’s difficult\, dangerous work. Sonically illuminated by cosmic jazz and Afro-beats\, Kassanda moves in close and zooms back out to intimately comprehend the contradictions and humanity within the intricate patterns and rhythms of a hustling city. \nOrder Tickets: The Harvard Film Archive
URL:https://filmstudycenter.fas.harvard.edu/event/screening-trouble-sleep/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Trouble-Sleep_still-04_Courtesy-Icarus-Films.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251113T180000
DTEND;TZID=America/New_York:20251113T210000
DTSTAMP:20260511T203412Z
CREATED:20250108T192832Z
LAST-MODIFIED:20260511T203412Z
UID:20910-1763056800-1763067600@filmstudycenter.fas.harvard.edu
SUMMARY:Films from the Film Study Center: Screening and Conversation
DESCRIPTION:Please join us\, in partnership with ArtsThursdays\, for a special screening of short films by Darol Olu Kae\, Kendra McLaughlin\, Tiff Rekem\, and Svetlana Romanova—current fellows at the Film Study Center at Harvard. Following the screening\, the filmmakers will participate in a conversation with Dennis Lim\, Artistic Director of the New York Film Festival. \nTiff Rekem\nTrilogy (working title)\, 2026\, work in progress\, 15 min\nTen years ago\, prominent director of Taiwan popular cinema Wei Te-sheng (魏德聖) set out to make three historical epics set during the little-known 17th-century Dutch colonial period in Taiwan — until the production fell apart\, unfinished\, in 2025. This project refashions the visual and sonic traces of the Taiwan Trilogy into an alternative historical period piece that\, during a time of rising nationalism in Taiwan\, observes the construction of cinema as the construction of a national identity. A work in progress. \nKendra McLaughlin\nLo que las olas no rompen (What the Waves Don’t Break)\, 2026\, work in progress\, 12min 30s\nAlong Lima’s southern coast\, men fish\, camels eat\, and life cycles through death and back again. \nSvetlana Romanova\nHinkelten\, 2023\, Russia\, 15 min\nFilmed in the Yakutian Arctic and constructed out of personal poems and notes\, this visual essay poses questions about our perception of contemporaneity and image production’s intersection with the creation of narratives around the idea of love (romantic\, platonic\, intimate\, and maternal). \nDarol Olu Kae\nKeeping Time\, 2023\, USA\, 32 min\nKeeping Time is a kaleidoscopic audiovisual homage to musicians who pass on the magic and the communities that nourish them. \nThe only Center devoted to artistic practice at Harvard\, since its inception in 1957 the Film Study Center has been at the forefront of nonfiction filmmaking. Its annual fellows have made original and innovative contributions to contemporary media practice:  in analogue and digital filmmaking\, moving image practices between the gallery and the theater\, sensory ethnography\, phonography\, and more recently the hybrid landscape that probes the border between fiction and nonfiction. A major presence at international film festivals\, the works produced in the FSC have shapeshifted over the seventy years of its history\, and many of them are now considered pioneering landmarks of their time.  The FSC is considered to be one of the most important international hubs for the creation of emerging and experimental forms of cutting-edge cinema and related media. \n\n\nThis event is co-presented by the Film Study Center at Harvard University and ArtsThursdays\, a university-wide initiative supported by Harvard University Committee on the Arts (HUCA). \n\n  \nimage: Still from Lo que las olas no rompen by Kendra McLaughlin
URL:https://filmstudycenter.fas.harvard.edu/event/films-from-the-film-study-center/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/png:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/09/Lo-que-las-olas-no-rompen_FSC_still-7-e1758291805869.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251028T160000
DTEND;TZID=America/New_York:20251028T180000
DTSTAMP:20251009T153704Z
CREATED:20251007T182832Z
LAST-MODIFIED:20251009T153704Z
UID:20988-1761667200-1761674400@filmstudycenter.fas.harvard.edu
SUMMARY:FSC Workshop with Filmmaker Marta Mateus | Evoking Language
DESCRIPTION:The Film Study Center is delighted to welcome Portuguese filmmaker Marta Mateus. In this workshop presentation\, we will explore sound and video installations as a formal exercise for investigating elements of cinema that extend beyond the traditional confines of the theater. This practice serves as a tool to expand our understanding of film and challenge preconceived notions of cinematic language. Drawing from experiences where images and sounds converge in both film and installation formats\, we will analyze how these mediums can help us transcend conventional boundaries\, transforming into dynamic experiences that enrich the creator’s exploration of narrative\, as well as time and space in film. \n\n\nFilmmaker and producer Marta Mateus (born 1984) studied philosophy\, drawing\, photography\, music\, and theater. Her first film\, Barbs\, Wasteland (2017)\, was shown at the Quinzaine des Cinéastes\, selected for various festivals\, and won the Grand Prize at Vila do Conde and Hiroshima. She has participated in several group exhibitions with video and sound installations. In 2018\, she was an artist-member of the Casa de Velázquez\, Académie de France à Madrid and created the production company Clarão Companhia. Her latest film\, Fire of Wind (2024)\, is her first feature film.\n \n\nThe Harvard Film Archive is currently presenting A Terra! The Cinema of Marta Mateus through October 27\, with the director in person October 25 and 27. \n\n\nRSVP to Cozette Russell for workshop location.
URL:https://filmstudycenter.fas.harvard.edu/event/fsc-workshop-with-filmmaker-marta-mateus-evoking-language/
LOCATION:MA
CATEGORIES:Artist Talk,Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/evocar-a-lingua-2_RGB16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251001T180000
DTEND;TZID=America/New_York:20251001T193000
DTSTAMP:20250919T141643Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250919T141643Z
UID:20918-1759341600-1759347000@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Fragments for Venus with Alice Diop in person
DESCRIPTION:We are excited to welcome Gardner FSC fellow Alice Diop back to Harvard to screen her new short film Fragments for Venus (France/Italy\, 2025\, 21 minutes)\, which premiered at the Venice Film Festival and New York Film Festival. FSC -Harvard fellow Kendra McLaughlin worked as a cinematographer on the film. \n“Continuing the meditations that shaped Saint Omer (NYFF60)\, Alice Diop’s new short indexes centuries-old artistic representation in the Louvre before observing womanhood on the streets of contemporary New York. Running between refined and loose—Miu Miu costumes complement quotidian streetwear while the museum’s silent halls are juxtaposed with metropolitan clamor—Fragments for Venus poses difficult questions while celebrating everyday living’s basic pleasures.”  – New York Film Festival
URL:https://filmstudycenter.fas.harvard.edu/event/screening-fragments-for-venus-with-alice-diop-in-person/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Fragements-for-Venus.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250923T150000
DTEND;TZID=America/New_York:20250923T163000
DTSTAMP:20251006T155025Z
CREATED:20250108T192832Z
LAST-MODIFIED:20251006T155025Z
UID:20983-1758639600-1758645000@filmstudycenter.fas.harvard.edu
SUMMARY:HFA tour & Research Info Session
DESCRIPTION:To welcome new students\, staff\, faculty\, and artists in the AFVS\, FSC\, and CMP community\, please join us for an introduction to the Harvard Film Archive focused on the HFA’s collection. We’ll go over how to find material and arrange use for classroom screenings\, individual research\, and filmmaking projects. This informal tour & information session is open to all who are interested. \nWHEN: Tuesday\, September 23\, 2025 from 3:00 to 4:00pm\, with optional time for more focused questions from 4:00 to 4:30pm. \nWHERE: We’ll meet on the lower level of the Carpenter Center at the bottom of the stairs / in front of the theater. \nAGENDA: We’ll start with a short tour of the HFA collection spaces in the Carpenter Center and then move into CCVA classroom B-04 for an introduction to the collections\, focusing on how to locate material and request and arrange use for your classes and projects. \nFeel free to join for all or part of the event\, and if you can’t make it but are interested in learning more about the HFA\, please reach out to HFA collections archivist Amy Sloper.
URL:https://filmstudycenter.fas.harvard.edu/event/hfa-tour-research-info-session/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/10/IMG_7428-scaled-e1759765105233.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250417T180000
DTEND;TZID=America/New_York:20250417T210000
DTSTAMP:20251113T163907Z
CREATED:20250108T192832Z
LAST-MODIFIED:20251113T163907Z
UID:20662-1744912800-1744923600@filmstudycenter.fas.harvard.edu
SUMMARY:The Ideal Cinematheque of the Outskirts of the World: Alice Diop\, with Amélie Galli
DESCRIPTION:Alice Diop\, the filmmaker behind groundbreaking films such as We (Nous\, 2021) and Saint Omer (2022)\, launched in 2020 The Ideal Cinematheque of the Outskirts of the World (La Cinémathèque Idéale des Banlieues du Monde)\, collecting and screening films that are formally and politically committed to exploring the urban peripheries of the great city capitals\, places that are often violently portrayed and appropriated but rarely have a chance to show their own images on their own terms. As Diop puts it\, the Ideal Cinematheque’s work of collecting and assembling representative films raises central questions: “In the periphery\, where buildings appear and disappear to the beat of human experiences and urban developments\, in a cycle that could seem infinite\, cinema represents heritage that nowadays must be revealed\, saved and shared. This parallel history of cinema is a continuous flow of erasure and disappearances. The challenge is also to question the logic of our fields of meaning\, in the critical relationship to works and their reception. What is a filmmaker or a film ‘from the periphery’? Which stories fall under this category?”\n \n\nFor this iteration of The Ideal Cinematheque of the Outskirts of the World at Harvard\, Diop\, alongside the Cinematheque programmer Amélie Galli\, will present two films by Virgil Vernier: the short Kindertotenlieder (2021) and the feature 100\,000\,000\,000\,000 (100 000 Milliards\, 2024) preceded by one of the seminal works for the Cinematheque\, Love Exists (L’amour existe\, 1960) by Maurice Pialat. Diop and Galli will present and discuss the Cinematheque and its work at the screening. \n  \n\nLove Exists (L’amour existe)\nMaurice Pialat\nFrance\, 1960\, 21 min.\nA contemplative and poetic short film that depicts the grayness of life and the monotony in the suburbs of Paris at the eve pf the 60s. But hope for social change remains. \nKindertotenlieder\nVirgil Vernier\nFrance\, 2021\, 27 min.\nThrough television news bulletins\, Kindertotenlieder revisits the 2005 riots in France\, sparked by the deaths of two teenagers from the Parisian banlieue of Clichy-sur-Bois\, who were killed during a police chase. Here\, the static formal conventions of TV news—vox pop interviews\, B-roll of burning cars\, outraged neighbors—slowly reveal a subtler narrative beneath the surface: one of neglect\, oppression\, ethnic and class divisions. \n100\,000\,000\,000\,000 (100 000 Milliards)\nVirgil Vernier\nFrance\, 2024\, 77 min.\nZakaria Bouti\, Mina Gajovic\, Victoire Song\nThey stayed up all night talking in Julia’s room. She told him about palaces\, castles\, diamonds\, and all the gold she had seen. She told him about what happened after death. Afine listened without saying a word\, dazzled by all these things he had never heard of before. \nThis event is co-presented by the Film Study Center at Harvard University and ArtsThursdays\, a university-wide initiative supported by Harvard University Committee on the Arts (HUCA).
URL:https://filmstudycenter.fas.harvard.edu/event/the-ideal-cinematheque-of-the-outskirts-of-the-world-alice-diop-with-amelie-galli/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/100-000-Milliards-Virgil-Vernier-2024-Petit-Film-5.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250416T180000
DTEND;TZID=America/New_York:20250416T210000
DTSTAMP:20250410T180113Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250410T180113Z
UID:20776-1744826400-1744837200@filmstudycenter.fas.harvard.edu
SUMMARY:Contemporary Moving Image Practices: Helena Wittmann
DESCRIPTION:In partnership with Contemporary Moving Image Practices\, the Film Study Center is delighted to host filmmaker Helena Wittmann. Please join us for a screening and talk with Witteman who will present her film\, Human Flowers of Flesh (2022\, 106 min.) \n\nHelena Wittmann’s second feature\, Human Flowers of Flesh\, sails out to the Mediterranean Sea on a small boat chartered by the stoic\, determined Ida (Angeliki Papoulia). The specifics of her crew’s mission are ambiguous\, but they are driven by an unequivocal need to search and question; the anthropologist at the heart of Wittmann’s debut feature\, Drift (2017)\, takes to the sea with a similarly all-consuming yearning. To that end\, Human Flowers is a powerfully sensory experience\, at one point plunging us into a literal deep-sea-dive sequence into the unknown. \nWithout academic pretensions\, the film meditates on the nature of physicality\, time\, consciousness\, and even the porousness of cultural borders; according to Wittmann\, the film originated with her futile attempt to make eye contact with a member of the French Foreign Legion at a base in Marseille\, which also shapes Ida’s wanderings. Immersions in nature sit alongside quotations from Marguerite Duras or Claire Denis\, which delicately expand on the original texts—most spectacularly when the specter of Beau Travail (1999) is invoked by a cameo from Denis Lavant\, in character as Galoup. These affective collages are something of an invitation: Wittmann seems to propose that the life of a work of art can only begin when it reaches the viewer\, open to its mysteries\, willing to traverse its open waters. – Chloe Lizotte\, Metrograph \nThis event is co-presented by Contemporary Moving Image Practices and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/contemporary-moving-image-practices-helena-wittmann/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/HFOF_Still_07.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250402T180000
DTEND;TZID=America/New_York:20250402T210000
DTSTAMP:20250320T222932Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250320T222932Z
UID:20756-1743616800-1743627600@filmstudycenter.fas.harvard.edu
SUMMARY:Contemporary Moving Image Practices: Adam Khalil
DESCRIPTION:In partnership with Contemporary Moving Image Practices\, the Film Study Center is delighted to host filmmaker Adam Khalil. Please join us for a screening and talk with Khalil who will present Endless Acknowledgment (2021\, 3 min.)\, Never Settle: The Program (2020\, 55 min.)\, and Give it Back: Crimes Against Reality (2024\, 34 min.). \n\nAdam Khalil\, a member of the Ojibway tribe\, is a filmmaker and artist from Sault Ste. Marie\, Michigan\, whose practice attempts to subvert traditional forms of ethnography through humor\, relation\, and transgression. Khalil is a core contributor to New Red Order and a co-founder of COUSINS Collective. Khalil’s work has been exhibited at the Museum of Modern Art\, Sundance Film Festival\, Walker Arts Center\, Lincoln Center\, Tate Modern\, HKW\, Museum of Contemporary Art Detroit\, Toronto Biennial 2019 and Whitney Biennial 2019\, among other institutions. Khalil is the recipient of various fellowships and grants\, including but not limited to a 2021 Creative Capital Award\, Sundance Art of Nonfiction\, Jerome Artist Fellowship\, Cinereach and the Gates Millennium Scholarship. \nThis event is co-presented by Contemporary Moving Image Practices and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/contemporary-moving-image-practices-adam-khalil/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/endless_acknowledgment_stills_2-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250331T190000
DTEND;TZID=America/New_York:20250331T220000
DTSTAMP:20251113T163930Z
CREATED:20250305T192832Z
LAST-MODIFIED:20251113T163930Z
UID:20743-1743447600-1743458400@filmstudycenter.fas.harvard.edu
SUMMARY:"Afternoons of Solitude" with Albert Serra in person
DESCRIPTION:Afternoons of Solitude\n(Tardes de soledad)\nDirected by Albert Serra.\nFrance/Portugal/Spain\, 2024\, DCP\, color\, 125 min.\nSpanish with English subtitles.\nDCP source: Grasshopper Films \nA cherished project long in the making\, Serra’s observational documentary follows\, with structural precision\, the full length of a traditional corrida fought by Spain’s most celebrated toreador\, the Peruvian Andrés Roca Rey. Using almost exclusively close-up cameras and wired microphones that capture the every word and breath of the toreador and the bull alike\, Tardes de soledad plunges the viewer into the ring to offer a startling\, and ultimately salubrious\, response to the woeful trend of contemporary documentary in which ever more “dangerous” and edgy subjects are designed as somehow more real and authentic\, a trend partially ascribed\, locally\, to Harvard’s own Sensory Ethnography Lab. \nTickets: https://harvardfilmarchive.org/calendar/afternoons-of-solitude-2025-04
URL:https://filmstudycenter.fas.harvard.edu/event/afternoons-of-solitude-with-albert-serra-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/03/afternoonsofsolitude_01-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250329T190000
DTEND;TZID=America/New_York:20250329T220000
DTSTAMP:20250306T185626Z
CREATED:20250305T192832Z
LAST-MODIFIED:20250306T185626Z
UID:20740-1743274800-1743285600@filmstudycenter.fas.harvard.edu
SUMMARY:"Story of My Death" with Albert Serra in person
DESCRIPTION:Story of My Death\n(Història de la meva mort)\nDirector in Person\nScreening on Film\n$15 Special Event Tickets\nDirected by Albert Serra.\nWith Vicenç Altaió\, Lluís Serrat\, Eliseu Huertas.\nSpain/France/Romania\, 2013\, 35mm\, color\, 148 min.\nCatalan with English subtitles.\nPrint source: HFA \nThe spirit of Warhol’s stylized genre-bending collaborations with the late Paul Morrissey infuses Serra’s lush and mournful imagination of an encounter between Giacomo Casanova and Count Dracula. Starring poet and Catalan art critic Vicenç Altaió as a voluble Casanova\, Story of My Death stages the meeting of the mythical figures as embodiments of distinct ideas of human desire and\, perhaps\, a charged metaphor for the passage from the Enlightenment to Romanticism. \nTickets: https://harvardfilmarchive.org/calendar/story-of-my-death-2025-03
URL:https://filmstudycenter.fas.harvard.edu/event/story-of-my-death-with-albert-serra-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/03/Story-of-My-Death-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250328T190000
DTEND;TZID=America/New_York:20250328T223000
DTSTAMP:20250306T185447Z
CREATED:20250305T192832Z
LAST-MODIFIED:20250306T185447Z
UID:20722-1743188400-1743201000@filmstudycenter.fas.harvard.edu
SUMMARY:"Pacifiction" with Albert Serra in person
DESCRIPTION:Pacifiction\nDirector in Person\n$15 Special Event Tickets\nDirected by Albert Serra.\nWith Benoît Magimel\, Pahoa Mahagafanau\, Marc Susini.\nFrance/Spain/Germany/Portugal/French Polynesia\, 2022\, DCP\, color\, 162 min.\nFrench\, English\, Polynesian and Portuguese with English subtitles.\nDCP source: Grasshopper Films \nSerra channeled the energy of New Hollywood paranoid thrillers such as Night Moves (1975) and The Conversation (1974) into a wonderfully rambling portrait of a well-intentioned but ultimately ineffectual French diplomat trying to deter a possible nuclear threat to the Polynesian islands. Shadows gradually emerge that shift the tone of Pacifiction; tropical Technicolor gives way to a creeping darkness that eventually engulfs the film. Once-prominent French star Benôit Magimel delivers a wonderful\, offbeat performance inflected with comic touches yet imbued with the melancholy of faded stardom. \nTickets: https://harvardfilmarchive.org/calendar/pacifiction-2025-03
URL:https://filmstudycenter.fas.harvard.edu/event/pacifiction-with-albert-serra-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Pacifiction-film-still.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250211T173000
DTEND;TZID=America/New_York:20250211T200000
DTSTAMP:20251113T163953Z
CREATED:20250108T192832Z
LAST-MODIFIED:20251113T163953Z
UID:20688-1739295000-1739304000@filmstudycenter.fas.harvard.edu
SUMMARY:The Personal Decolonization of my Cinematographic Glance: Masterclass with Rosine Mbakam
DESCRIPTION:Art helps shape our imagination\, our gaze and our thoughts. Cinema\, like other arts\, has contributed to the establishment of ideologies of domination\, forging an imaginary of the dominant and the dominated that endures to this day in our society. From generation to generation\, these ills are passed on\, unconsciously or consciously; they remain the same\, but take on new clothes. \nToday\, the word “decolonization” has been reclaimed and often used to deconstruct the rigidity of our society. And yet\, we are all part of this society\, and sometimes participate in its rigidity. Decolonization should start with ourselves. \nThis masterclass will examine how cinema can be a motor for questioning and deconstructing colonial patterns through a personal and intimate decolonization of your thinking\, your gaze\, your imagination\, your history. \nOpen to FSC fellows and CMP students. All others kindly RSVP to Cozette Russell\, cerussell (at) fas.harvard.edu
URL:https://filmstudycenter.fas.harvard.edu/event/the-personal-decolonization-of-my-cinematographic-glance/
LOCATION:FSC\, Harvard Yard\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Artist Talk,Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Masterclass-with-Rosine-Mbakam_16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250209T190000
DTEND;TZID=America/New_York:20250209T213000
DTSTAMP:20250122T200051Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250122T200051Z
UID:20639-1739127600-1739136600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Delphine's Prayers with Rosine Mbakam in Person
DESCRIPTION:Delphine’s Prayers\n(Les prières de Delphine)\nDirector in Person\n$15 Special Event Tickets\nDirected by Rosine Mbakam.\nBelgium/Cameroon \, 2021\, DCP\, color\, 90 min.\nFrench and Cameroon Pidgin with English subtitles.\nDCP source: Icarus Films\n\nAs with Chez jolie coiffure\, Delphine’s Prayers takes place in a single enclosed space with one woman at its center. Aside from the filmmaker’s presence\, Delphine is the sole star here. Sitting up casually in her bed\, she treats the experience like a video diary\, candidly and passionately relating her painful tale for the first time. Compelled by desperate circumstances into sex work and eventually marriage\, she describes a life besieged by poverty\, loss\, violence and trauma. Her confidante\, fellow Cameroonian Mbakam\, also immigrated to Belgium\, yet under very different circumstances. In their collaboration\, it is sometimes Delphine who directs\, signaling when to end for the day\, telling Mbakam to sit down\, “or I won’t be able to relax.” Not merely tragedy\, her saga is filled with heroic efforts to help others or to simply stay alive\, only to be met with rejection and further abuse from her family and fellow Cameroonians\, later by racist Europeans\, and now she sacrifices herself for her children’s needs\, while supporting family back home. In Mbakam’s film\, Delphine emerges as a defiant survivor and brave warrior\, telling her own story for others and praying for a better one for herself. “I am not dead\,” proclaims Delphine. “I’m still here. Now that I’m here\, I can bear witness.”\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-delphines-prayers-with-rosine-mbakam-in-person/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Delphines-Prayers.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250208T190000
DTEND;TZID=America/New_York:20250208T213000
DTSTAMP:20250109T224003Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T224003Z
UID:20636-1739041200-1739050200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Mambar Pierrette with Rosine Mbakam in Person
DESCRIPTION:Mambar Pierrette\nDirector in Person\nDirected by Rosine Mbakam.\nWith With Pierrette Aboheu Njeuthat\, Marguerite Mbakop\, Duval Franklin Nwodu Chinedu.\nBelgium/Cameroon/France\, 2023\, DCP\, color\, 93 min.\nFrench with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\n\n\n\n\nLingering in a convincing documentary-like state\, Mbakam’s latest feature is an extraordinary\, mesmerizing portrait of an independent\, single Cameroonian woman raising two young children\, running a sewing business and caring for her elderly mother. Despite her sought-after skills as a creative seamstress\, she struggles to make ends meet. At times resembling a contemporary Jeanne Dielman\, the film carefully details her tasks at work and home\, the constant monetary and social negotiations\, incremental disasters and setbacks\, acts of political resistance\, moments of connection and release—all woven seamlessly into the complex fabric of her daily existence. Reminiscent of the manifold roles Chez jolie coiffure’s Sabine plays in her community\, Pierrette is mother\, businesswoman\, friend and also humble recipient of others’ support. There are no sweeping acts of valor or weighty moments of self-actualization\, yet by the end\, the undaunted Pierrette has earned heroic status—made even more so upon learning that she\, along with most of the cast\, is played by a nonprofessional actor. One of Pierrette’s friends notes\, “You look like you have all of Cameroon’s cares on your shoulders.” Indeed\, the same could be said for the filmmaker\, who seems to have meticulously folded every one of those cares into this smoldering\, inconspicuous tour de force.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mambar-pierrette/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Mambar-Pierrette-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250204T183000
DTEND;TZID=America/New_York:20250204T210000
DTSTAMP:20250122T195924Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250122T195924Z
UID:20652-1738693800-1738702800@filmstudycenter.fas.harvard.edu
SUMMARY:Unclaimed Experience: a night of film and video\, curated by Sara Jordenö
DESCRIPTION:From the personal to the necropolitical\, the artists in this program grapple with their own position as witnesses and the camera apparatus\, the emulsion on the celluloid film strip\, subtitles\, video and audio signals as fickle and elusive\, yet powerful\, forms of evidence\, while simultaneously embracing the relationship between sensing and making sense. \nFilms and Videos by Louise Bourque\, Africanus Okokon\, Kathryn Ramey\, Evelyn Cao\, Bryan Parcival\, Runo Lagomarsino\, Behjat Omer Abdulla\, Carlos Motta\, and Tomonari Nishikawa. \nCo-presented by the AgX Film Collective and the Film Study Center \nPROGRAM: \nSelf Portrait Post Mortem (2002)\, Louise Bourque\, 35mm\, 2:30\nSongs on the Stairs (2024)\, Bryan Parcival\, video\, 4:00\nIt’s your turn\, doctor (2018)\, Behjat Omer Abdulla\, video\, 18:52\n.srt (2019)\, Africanus Okokon\, video\, 8:00\nEchoes 1: Drumbeats Out of Time (2024) \, Bryan Parcival\, video\, 0:30\nEchoes 2: Bedtime (2024)\, Bryan Parcival\, video\, 0:30\nThe Passenger (2007)\, Kathryn Ramey\, 16mm\, 17:00\nEchoes 3: The Science Club (2024)\, Bryan Parcival\, video\, 0:30\nEchoes 4: Slices of Life\, Bryan Parcival\, video\, 1:00\nTheo by the Sea\, Evelyn Cao\, video\, 4:00\nEchoes 5: The Summoning Ritual (2024)\, Bryan Parcival\, video\, 0:30\nEchoes 6: Any Colour You Like (2024)\, Bryan Parcival\, video\, 1:30\nEchoes 7: Stormy Sea (2024)\, Bryan Parcival\, video\, 2:30\nFissures (1999)\, Louise Bourque\, 16mm\, 2:30\nEchoes 8: It’s 2:37 (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 9: Foos For Thought (2024). Bryan Parcival\, video\, 0:30\nResistance and Repression (2010)\, Carlos Motta\, video\, 4:35\nEuropa Point (2019)\, Runo Lagomarsino\, video\, 4:39\nEchoes 10: Room with a View (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 11: Baptism (2024)\, Bryan Parcival\, video\, 1:00\nEchoes 12: Same Song\, Second Verse (2024)\, Bryan Parcival\, video\, 1:30\nsound of a million insects\, light of a thousand stars (2014)\, Tomonari Nishikawa\, 35mm\, 2:00 \nTOTAL RUNTIME: approx. 77m.\nProjection format as noted. \nFollowed by a panel discussion with Sara Jordenö (RISD)\, Bryan Parcival (Harvard/RISD)\, Alex Green (Harvard).
URL:https://filmstudycenter.fas.harvard.edu/event/unclaimed-experience-a-night-of-film-and-video-curated-by-sara-jordeno/
LOCATION:B04 Carpenter Center for the Visual Arts\, 24 Quincy St\, Cambridge\, MA\, 02138
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Bourque_16x9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250202T190000
DTEND;TZID=America/New_York:20250202T203000
DTSTAMP:20250109T223940Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223940Z
UID:20625-1738522800-1738528200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Two Faces of a Bamiléké Woman
DESCRIPTION:The Two Faces of a Bamiléké Woman\n(Les deux visages d’une femme Bamiléké)\nDirected by Rosine Mbakam.\nBelgium/Cameroon\, DCP\, color\, 76 min.\nFrench and Bamiléké with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nAfter seven years away\, the filmmaker returns to Yaoundé\, the village in Cameroon where she grew up\, with her white European husband and their young son. Now living in Belgium\, Mbakam not only reunites with her family and homeland but embarks upon a revelatory project of exploring her childhood\, her parents’ lives and the wider stories of Cameroonian women. The “two faces” appear in different guises: from Mbakam’s own existence between two worlds—she is an acclaimed filmmaker\, yet her mother has only been to the movies once—and the less obvious duality that older Bamiléké women balance on a daily basis\, including within unhappily arranged marriages. Mbakam’s mother directly experienced the horrific violence of French colonialism and the death of her son\, while revealing that her husband’s second wife made her miserable. Despite the hardships\, what emerges in their tales are actions of quiet\, radical rebellion. Many of the women featured work for themselves\, find loopholes in tradition or create new\, supportive ones\, like the tontine. Mbakam\, too\, has joined these ranks\, creatively responding to neocolonial repercussions by renewing the bonds between generations while illuminating the resilience\, wisdom and generosity of Bamiléké matriarchs.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-screening-the-two-faces-of-a-bamileke-woman-feb-2/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/The-Two-Faces-of-a-Bamiléké-Woman-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250131T213000
DTEND;TZID=America/New_York:20250131T230000
DTSTAMP:20250123T150700Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250123T150700Z
UID:20633-1738359000-1738364400@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Prism

DESCRIPTION:Prism
(Prisme)\nDirected by Rosine Mbakam\, An van Dienderen\, Éléonore Yaméogo.\nBelgium\, 2021\, DCP\, color\, 78 min.\nEnglish and French with English subtitles.\n\n\n\n\n\nFilmmakers Rosine Mbakam\, An van Dienderen and Éléonore Yaméogo collaborate on a multifaceted essay film thinking through questions around Black representation in a cinema historically white-balanced. With the participation of a variety of scholars\, artists\, actors and fellow filmmakers\, the film experimentally explores the depths that this colonization of representation erases. Upon debunking the myth of the technology’s neutrality\, they creatively crack open the Pandora’s box of implications and repercussions. Using a distinctly non-didactic\, unconventional approach\, the film is a moving and dynamic reclamation\, a poetic manifesto for an enlightened\, inclusive cinema.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-prism/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Prism.jpg
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DTSTART;TZID=America/New_York:20250131T193000
DTEND;TZID=America/New_York:20250131T210000
DTSTAMP:20250109T223823Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223823Z
UID:20630-1738351800-1738357200@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Chez jolie coiffure
DESCRIPTION:Chez jolie coiffure\nDirected by Rosine Mbakam.\nBelgium/Cameroon \, 2018\, DCP\, color\, 71 min.\nFrench with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nMbakam reveals the unseen worlds contained within the microcosm of a hair salon inside a Brussels shopping mall in a neighborhood that has become a hub of African transplants. Helmed by the steadfast Sabine\, the salon is not only a place of business\, but a community center\, therapy clinic\, or even display window—when the curious white tourists gawk—and at its most precarious\, the entire mall becomes a trap where police search for undocumented immigrants. Mbakam spent a year within the glassed-off confines of the salon\, filming Sabine as she multitasks. During the intimate swathes of time-consuming hair braiding and styling\, shop talk ranges from the misconceptions of life in Europe for African immigrants; the sex trafficking of young African women and everyone’s money troubles; to joking\, flirting and of course\, love and beauty advice. The latter are usually courtesy of Sabine\, who is the gentle guide and the stoic center of this ad-hoc sanctuary. Between helping people with their relationships\, finding housing and jobs or recruiting for her tontine\, Sabine also discloses her own traumatic tale of a hard-won\, precarious independence\, one that has taken her far away from Cameroon\, yet has enabled her to nurture a new\, improvised family making their way on unstable ground.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/rosine-mbakam-screening-chez-jolie-coiffure/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2025/01/Chez-jolie-coiffure.jpg
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DTSTART;TZID=America/New_York:20250127T193000
DTEND;TZID=America/New_York:20250127T210000
DTSTAMP:20250109T223750Z
CREATED:20250108T192832Z
LAST-MODIFIED:20250109T223750Z
UID:20622-1738006200-1738011600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Two Faces of a Bamiléké Woman
DESCRIPTION:The Two Faces of a Bamiléké Woman\n(Les deux visages d’une femme Bamiléké)\nDirected by Rosine Mbakam.\nBelgium/Cameroon\, DCP\, color\, 76 min.\nFrench and Bamiléké with English subtitles.\nDCP source: Icarus Films\n\n\n\n\n\nAfter seven years away\, the filmmaker returns to Yaoundé\, the village in Cameroon where she grew up\, with her white European husband and their young son. Now living in Belgium\, Mbakam not only reunites with her family and homeland but embarks upon a revelatory project of exploring her childhood\, her parents’ lives and the wider stories of Cameroonian women. The “two faces” appear in different guises: from Mbakam’s own existence between two worlds—she is an acclaimed filmmaker\, yet her mother has only been to the movies once—and the less obvious duality that older Bamiléké women balance on a daily basis\, including within unhappily arranged marriages. Mbakam’s mother directly experienced the horrific violence of French colonialism and the death of her son\, while revealing that her husband’s second wife made her miserable. Despite the hardships\, what emerges in their tales are actions of quiet\, radical rebellion. Many of the women featured work for themselves\, find loopholes in tradition or create new\, supportive ones\, like the tontine. Mbakam\, too\, has joined these ranks\, creatively responding to neocolonial repercussions by renewing the bonds between generations while illuminating the resilience\, wisdom and generosity of Bamiléké matriarchs.\n\n\n\n\n\n\n\n\nThis event is co-presented by the Harvard Film Archive and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/mcmillan-stewart-screening-the-two-faces-of-a-bamileke-woman/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/The-Two-Faces-of-a-Bamiléké-Woman-scaled.jpg
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DTSTART;TZID=America/New_York:20241113T190000
DTEND;TZID=America/New_York:20241113T210000
DTSTAMP:20241105T153112Z
CREATED:20240912T182832Z
LAST-MODIFIED:20241105T153112Z
UID:20568-1731524400-1731531600@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: Users with Natalia Almada
DESCRIPTION:Users\nDirected by Natalia Almada\nUnited States\, Mexico\, 2022\, DCP\, color\, 81 min.\nEnglish; Spanish with English subtitles\n\nNatalia Almada will be in conversation with Tabitha Jackson (Shorenstein fellow spring ’24) after the screening\n\nUsers begins with a mother’s question–will my children love the perfect machines more than they love me\, their imperfect mother? She pushes the button\, and a smart crib lulls her crying baby to sleep\, flawlessly every time. This question guides her inquiry into the intimate relationship we have with technology that is increasingly driving all aspects of our society. We explore the unintended and often dehumanizing consequences of our society’s embedded belief that technological progress will lead to the betterment of humanity. Is technological progress inevitable? Are we all increasingly isolated? Do we really have agency to direct its course? Is technology an expression of our humanity or is technology destroying our humanity? The film will be a critical and intimate meditation on these questions.\n\nUsers traverses places ranging from the largest indoor vertical farm in the world to the perfect artificial wave\, from an IVF embryo lab to a fiber optic cable landing. Invisible infrastructure that we all rely on is made visible. Our reliance on machines and our alienation from each other is palatable. Urgent global issues like climate change and privacy are explored from the intimate perspective of a mother thinking\, worrying and loving her children. – Icarus Films\n\nThis event is co-presented by the Shorenstein Center and the Film Study Center at Harvard University.
URL:https://filmstudycenter.fas.harvard.edu/event/screening-users-with-natalia-almada/
LOCATION:Carpenter Center Theater\, CCVA\, level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/Users-1.jpg
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DTSTART;TZID=America/New_York:20241111T190000
DTEND;TZID=America/New_York:20241111T210000
DTSTAMP:20241105T153316Z
CREATED:20240912T182832Z
LAST-MODIFIED:20241105T153316Z
UID:20551-1731351600-1731358800@filmstudycenter.fas.harvard.edu
SUMMARY:Screening: The Night Watchman (El Velador) with Natalia Almada
DESCRIPTION:The Night Watchman (El Velador)\nDirected by Natalia Almada\nMexico\, 2011\, DCP\, color\, 72 min.\nSpanish with English subtitles\n\nNatalia Almada will be in conversation with Julie Mallozzi after the screening\n\nBorn in Mexico City as the great-granddaughter of Mexico’s controversial president Plutarco Elías Calles\, Natalia Almada makes intimate films exploring the tragedies in her own family history as well as the current violence in Mexico’s Sinaloa region. Her poetic\, multilayered approaches to storytelling have won her a MacArthur Award\, two Sundance Documentary Directing Awards\, and screenings at Documenta13\, The Museum of Modern Art\, The Guggenheim Museum\, and the 2008 Whitney Biennial. This event is part of a three-day visit to Harvard that will include a Shorenstein Center screening of Almada’s film Users on November 13\, followed by a conversation with Almada and Shorenstein Documentary Film Fellow Tabitha Jackson.\n\nFrom the opening shot through a pickup truck’s foggy windshield entering a cemetery at sunset\, El Velador is infused with an atmosphere of patient dread. At its center is Martin\, who works from dusk until dawn watching over the extravagant mausoleums of some of Mexico’s most notorious drug lords. In portraying the daily labor of those who maintain the cemetery and eschewing the pervasive\, graphic images of the violence behind many of these deaths\, Almada asks viewers to consider the relationship between the workers and those honored there. Such restraint opens these spaces of contemplation throughout the film. Between Martin’s night shifts\, masons frame the high cupolas and spread their cement\, coconut vendors roll by with music playing\, and florists arrange lavish wreath displays in time for the luxury cars to arrive for services. With radio reports about the weather and the latest murders comprising most of the film’s dialogue\, El Veladorbecomes a kind of landscape film: one capturing not only the vistas of this peculiar place but an aura generated by years of gross inequality\, corruption and ever-present violence. – Julie Mallozzi\n\nCo-presented by the Shorenstein Center on Media\, Politics and Public Policy\, The Harvard Film Archive\, and the Film Study Center.\n\n \n\n\n\n 
URL:https://filmstudycenter.fas.harvard.edu/event/screening-the-night-watchman-el-velador-with-natalia-almada/
LOCATION:Harvard Film Archive\, 24 Quincy St.\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2024/09/The-Night-Watchman-El-Velador-with-Natalia-Almada.jpg
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DTSTART;TZID=America/New_York:20241015T150000
DTEND;TZID=America/New_York:20241015T163000
DTSTAMP:20241002T220915Z
CREATED:20240912T182832Z
LAST-MODIFIED:20241002T220915Z
UID:20536-1729004400-1729009800@filmstudycenter.fas.harvard.edu
SUMMARY:Workshop: Accessing Unique Film and Video Resources at Harvard Libraries and Harvard Film Archive
DESCRIPTION:Harvard has incredible audiovisual resources in multiple media spread across several entities on campus. In this workshop\, you will learn how to locate\, request\, and view items from Harvard’s various film collections – and about the procedures to pursue inclusion of media in your research or art projects. Amy Sloper\, Collections Archivist at the Harvard Film Archive\, will describe the collections and access instructions for Harvard Film Archive and other special collections on campus. \nLocation: CCVA 401 \n\n\n\nThis workshop is limited to 20. Priority is given to FSC fellows and CMP students. kindly RSVP: cerussell@fas.harvard.edu \n\n 
URL:https://filmstudycenter.fas.harvard.edu/event/harvard-film-archive-workshop/
LOCATION:CCVA 401\, MA\, United States
CATEGORIES:Workshop
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Archive_image_SQ-1111-1.jpg
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DTSTART;TZID=America/New_York:20240502T183000
DTEND;TZID=America/New_York:20240502T203000
DTSTAMP:20240430T210821Z
CREATED:20230115T171203Z
LAST-MODIFIED:20240430T210821Z
UID:20361-1714674600-1714681800@filmstudycenter.fas.harvard.edu
SUMMARY:Charlie Prodger Double Bill: "BRIDGIT" and "SaF05" with Radcliffe-FSC fellow Charlie Prodger
DESCRIPTION:We are thrilled to present Charlie Prodger Double Bill: BRIDGIT and SaF05 with Charlie Prodger in person\, May 2 at 6:30pm at the Carpenter Center Theater. \nThrough the prism of queer subjectivity\, Charlie Prodger’s work explores intertwined relationships between the body\, landscape\, language and technology. This double-bill comprises BRIDGIT (2016) and SaF05 (2019); the penultimate and final in Prodger’s trilogy of films that began in 2015 with Stoneymollan Trail. This autobiographical cycle traces the accumulation of affinities\, desires and losses that form a self as it moves forward in time. Prodger is a 2023-24 fellow at the Radcliffe Institute for Advanced Study. \nBRIDGIT\, 2016\n32 mins \nBRIDGIT\, for which Prodger won the 2018 Turner Prize\, takes its title from the eponymous Neolithic deity whose name has numerous iterations depending on life stage\, locality and point in history. Exploring the shifting temporal interrelations of name\, body\, and landscape\, BRIDGIT focuses on female attachments—a process of identification that includes friends\, shape-shifting deities\, and other figures of influence. A flash drive used in the production of the film is named Turiya\, a moniker of musician Alice Coltrane\, and Prodger quotes virtual systems theorist and transgender studies pioneer Sandy Stone\, citing Stone’s various names (e.g. Sandy Stone\, Allucquere Rosanne Stone\, Allucquere Rosanne “Sandy” Stone) as extended embodiments spanning time and space. BRIDGIT was shot entirely on Prodger’s phone\, which she approaches as a prosthesis or extension of the nervous system—one which also provides an intimate connection to global social interaction and work. Body and device become extensions of each other\, and the work becomes a unified meditation on shifting subjectivity. \nSaF05\, 2019\n39 mins \nSaF05\, with which Prodger represented Scotland at the 58th Venice Biennale in 2019\, draws on archival\, scientific and diaristic sources and combines footage from a number of geographical locations (the Scottish Highlands\, the Great Basin Desert\, the Okavango Delta and the Ionian Islands). SaF05 is named after a maned lioness that figures in the work as a cipher for queer attachment and desire. This animal was the last of several maned lionesses documented in the Okavango Delta\, known to Prodger only through a database of behaviours and camera-trap footage logged by conservationists. Here\, she uses film industry cameras\, a smartphone\, and a flying drone—each employed for their inherent material properties. The hum of the drone is taken up as a sonic motif that transmutates throughout the film as a bagpipe\, a cicada mating call\, a saxophone\, and a battery alarm – syncopated equivalences between animal and human\, instrument and machine. Concurrently\, Prodger’s voiceover traces a chronology of intimate gestures and interpersonal connections from pubescence to the present\, inscribed with wider political structures of sovereignty\, land use and territory. SaF05 is a meditation on relations\, however tangible\, that expand and diffuse conceptions of intimacy\, family\, sexuality and kinship. \nCharlie Prodger (b. 1974\, United Kingdom) is a Glasgow-based artist working with moving image\, writing\, sculpture\, and drawing. She was the winner of the 2018 Turner Prize and represented Scotland at the 2019 Venice Biennale. She received the 2014 Margaret Tait Award\, the 2017 Paul Hamlyn Award and is a Macdowell Fellow. Prodger is currrently a 2023–24 fellow at Harvard Radcliffe Institute and a fellow at the Harvard Film Study Center. \nProdger’s work has been exhibited internationally\, including at Secession\, Vienna; Stedelijk Museum\, Amsterdam; Kunst Museum Winterthur; Monash University Museum of Art\, Melbourne; Wesleyan University Zlkha Gallery; The Renaissance Society\, University of Chicago; Yale Center for British Art; Bunder Kunstmuseum\, Chur; Studio Voltaire\, London; Tate Britain\, London; SculptureCenter\, New York; Bergen Kunsthall; Kunstverein Dusseldorf; British Art Show 8; Spike Island\, Bristol; National Galleries of Scotland\, Edinburgh; Kunsthalle Frieburg and Artists Space\, New York. Her films have been screened at numerous film festivals\, including London Film Festival\, Bucharest International Experimental Film Festival\, Courtisane festival\, Internationale Kurzfilmtage Oberhausen\, New York Film Festival\, Vancouver International Film Festival\, Lux Biennial of Moving Images\, Kochi-Muziris Biennale\, Seoul International New Media Festival and Toronto International Film Festival. \nProdger’s writing has been published in Frieze\, F.R.DAVID\, 2HB\, The Happy Hypocrite\, Intertitles: An Anthology at the Intersection of Writing and Visual Art and What Artists Wear by Charlie Porter. She teaches at De Ateliers in Amsterdam and at Zurich University of the Arts. She is represented by Hollybush Gardens\, London and Kendall Koppe\, Glasgow. \nFree admission\, general seating \nThis event is co-presented by the Carpenter Center for the Visual Arts\, the Film Study Center at Harvard University\, and the Radcliffe Institute for Advanced Study. \n 
URL:https://filmstudycenter.fas.harvard.edu/event/charlie-prodger-double-bill-bridgit-and-saf05/
LOCATION:Carpenter Center Theater\, CCVA\, Level 0\, 24 Quincy Street\, Cambridge\, MA\, 02138\, United States
CATEGORIES:Screening & Artist Talk
ATTACH;FMTTYPE=image/jpeg:https://filmstudycenter.fas.harvard.edu/wp-content/uploads/2023/01/Chralie-Prodger-film-still.jpg
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