Lembrança, A Maior das Artes

The day he decided to leave

My grandfather Tuiu decides for the second time to leave his house and start a life elsewhere, he lives with the street hardships, and the fact of leaving is linked to the depredation of that place.

My Memory Is Full of Ghosts

Like a visual elegy, My Memory Is Full of Ghosts explores a reality caught between past, present and future in Homs, Syria. Behind the self-portrait of an exsanguinated population in search of normality emerge memories of the city, haunted by destruction, disfigurement and loss. A deeply moving film, a painful echo of the absurdity of war and the strength of human beings.

Ghosts: Long Way Home

After a spell cast by Grandma Faraway, the oldest son of a small family encounters the ghost of his late Grandma Maria still living in her old house, and they chat as they used to.

Ritual de Luz

Raul Brandão was a Great Writer...

This film is an attempt to disclose if Raul Brandão has left any trace, in Nespereira, Gumarães.

I Remember Nothing

January 2011 : the revolution bursts in Tunisia, my father’s country. The Tunisian people scream in a rage and I, here in Paris, can feel their revolt vibrating in my heart.

A Landscaped Area Too Quiet for Me

Memory prevents rest and a woman about to die takes advantage of cinema to tell her story (inseparable from that of Franco’s Spain) and to say goodbye. A terrace as a border and a song that crosses time. At home, nothing is always—and everything is still—in the present and defunct now. A home movie of ghosts, a generous gesture of intimacy and solidarity that not witnesses two people at the end of their long lives, but also reveals the weight of history and of the 20th century, which is always present today.

Pride & Attitude

The viewpoints of women from a country that no longer exists preserved on low-band U-matic tape. GDR-FRG. Courageous, self-confident and emancipated: female industry workers talk about gaining autonomy.

L'heure exquise

In the streets of Marseille, René Allio encounters, once again, the spaces of his childhood, and remembers his family history.

Ashes

A cellar. A forgotten amphora. The ashes of a woman. Her granddaughter, daughter-in-law and son characterise her, entwining their memories and experiences. They reflect about filial love, gender and isolation through her overbearing nature.

History and Memory: For Akiko and Takashige

This film is a poetic composition of recorded history and non-recorded memory. Filmmaker Rea Tajiri’s family was among the 120,000 Japanese and Japanese Americans who were imprisoned in internment camps after the attack on Pearl Harbor. And like so many who were in the camps, Tajiri’s family wrapped their memories of that experience in a shroud of silence and forgetting. This film raises questions about collective history – questions that prompt Tajiri to daringly re-imagine and re-create what has been stolen and what has been lost.

Three Days in August 1914

Documentary on the atrocities the germans committed at the start of WW I in Dinant.

Double Around the Interlude

A flock of memories activated by various musical exercises, to strike the past to the heart, to build something utopian: the future, a sonic architecture. Music as a tool, transcriptions of YouTube tutorials as poetry, percussion exercises as descriptions of reality.

Tricky Memory

The lastest neuroscience discoveries show surprising results: false memories, distortion, modification, déjà vus. Our memory is affected in many ways, and deceives us every day. The very fact of recalling souvenirs modifies them. The everyday consequences are manyfold. To what extent can we rely on our souvenirs? How much credit can we give them during trials? Even more shocking, scientists have proved to be able to manipulate our memory: creating artificial souvenirs, deleting, emphasizing or restoring them on demand.

Paper City

Just after midnight on 10 March 1945, the US launched an air-based attack on eastern Tokyo; continuing until morning, the raid left more than 100,000 people dead and a quarter of the city eradicated. Unlike their loved ones, Hiroshi Hoshino, Michiko Kiyooka and Minoru Tsukiyama managed to emerge from the bombings. Now in their twilight years, they wish for nothing more than recognition and reparations for those who, like them, had been indelibly harmed by the war – but the Japanese government and even their fellow citizens seem disinclined to acknowledge the past.

Carnations

Seven strangers are interviewed to talk about the relationship they have with their mother.

Ergui as Mãos aos Céus e Não Havia Mais Luz

Forms of Forgetting

Nesrin and Erdem talk about their relationship, which they don’t remember in exactly the same way. Çevik’s visually stunning essay uses their conversations to forge a pensive treatise on what it means to forget, where word and image play an equal role.

L'Épopée des gueules noires