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Through the Ruins

To film without looking trough the viewfinder; to emulate a tactile, subconscious vision. This was the intention of "A traves de las ruinas", made during the Falklands War (April-May 1982). The camera is a vacillating gaze that moves about in the darkness or is blinded by flickering. At the beginning, it delves into the sea, later it represents aerial bombardments through urban lights. Silhouettes of human figures appear that never manage to connect with each other. Scarcely lit places, photographed on the "threshold or exposure"; wintry, generalized interaction of spaces, distances and dynamics. A continual present made up of intuitions and imprecise memories.

Through the Ruins

5.7 1982
A Rustling of Leaves: Inside the Philippine Revolution

A chronicle of the three points of a political triangle — the legal left, the illegal (armed) revolution, and the enemy which threatens them both: the armed reactionary right. It is 1987. The dictatorship of Ferdinand Marcos has just been overthrown. Newly elected President Corazon Aquino struggles to wrench control of the country from her own military. A Rustling of Leaves poses the key question facing the revolutionaries and the Filipino Left: Should the People’s Movement continue the guerilla war, or do they dare enter legal politics and reveal the hidden face of the revolution?

A Rustling of Leaves: Inside the Philippine Revolution

10.0 1988
Brussels-Transit

Samy Szlingerbaum made his film Dakh-Brisel (Brussels-Transit) in 1980, thirty years after any Yiddish feature film had been produced. Szlingerbaum felt that the only way he could relate the story of his family’s search for refuge after World War II was in Yiddish. This Belgian-based filmmaker, deeply impacted by New York experimental cinema, gives us a masterful blend of powerful drama and stark documentary to tell the story of postwar European Jewry. Home, as it had been, no longer exists, and all that Samy’s family wants is a place in which to sink new roots.

Brussels-Transit

6.6 1982
Flipside Video Fanzine Number Two

White Flag : Flipside, Not Alright, Communication Breakdown G.B.H. : Gimme Fire, Wild Thing, I Am The Hunted 7 Seconds : This Is My Life, out of Touch, Skins brains guts Tesco Vee : worshiping /s - 7 seconds with a cat and a guessing game with: SSD doing Shangri-las, White Flag doing Pink Floyd & GBH doing the Buzzcocks. Battalion of Saints : I Wanna Make You Scream Minor Threat : Stand Up And Be Counted, Stepping Stone Rodney Mullen skating Minor Threat: betray & Jeff Nelson Brian baker (skating) it Follows Big Boys : Brickwall Stretch Marks : Professional Punks Urinals/100 Flowers : California Falling, Surfing With The Shaw, With: Keith Morris and D Boon Black Flag : Scream in Mike Muir's garage Kraut : Kill For Cash Minutemen : Split Red, Life As A Rehearsal, Ack Ack Ack Ack Angst : This Guns For You, Neil Armstrong Dickies : If Stuart Could Talk, Manny, Moe, and Jack, You Drive Me Ape, Gigantor ENDCLIPS: The Avengers, The Eyes, 45 Grave, SIN 34

Flipside Video Fanzine Number Two

8.0 1983
The Beginnings of Bebop

Willie Ruff, musician, composer, educator, filmmaker, and Yale School of Music alumnus was on the faculty of the Yale School of Music from 1971 until his retirement in 2017. He directed and produced this short film which follows Dizzy Gillespie and Ruff’s musical partner Dwike Mitchell on a tour of key locations in the history of bebop in New York City. Gillespie led the filmmakers to Minton’s Playhouse, Carnegie Hall, the former site of the Savoy Ballroom, and made an unannounced stop at Miles’ Davis home. (Yale Film Archive)

The Beginnings of Bebop

NR 1981
Dure Limite: Caving in a mill, Mer de Glace

The Mer de Glace in Chamonix, November 86: every summer the meltwater that runs on the surface of the glacier flows into a huge crevasse called "a mill". In 1897, Joseph VALLOT had explored it to a depth of 60m, a lake had prevented him from going any further. Since then no one had descended into this well. In the fall, a multidisciplinary team made up of mountaineers including Jean Marc BOIVIN, speleologists and scientists descending into the crevasse... Superb images and live comments in a temperature of 0° and a humidity of 100%. The team reached 110m deep under the ice, a world first in glacier exploration. Jean marc BOIVIN seems delighted with his first speleological exploration. With the participation of Serge AVIOTTE, Jean Michel ASSELIN, Jean Marc BOIVIN, Janot LAMBERTON, Pierrot PILLET, Louis REYNAUD, Jean Luc RIGAUD and Denis TERMIER.

Dure Limite: Caving in a mill, Mer de Glace

10.0 1986
The Blooms of Banjeli

The Blooms of Banjeli documents research in Banjeli, Togo on iron-smelting technology, its rituals, and the sexual prohibitions surrounding it. Including rare historical footage from the same village in 1914, it provides a unique technological record of the traditional method of preparing a furnace to smelt iron. This documentary offers an interesting approach to our understanding of the relationship between conceptions of gender and technology in traditional African society. The people of Banjeli liken the furnace to a woman's body, which is 'impregnated' by the smelter. The process of smelting is compared to that of giving birth, the furnace being the womb and the iron bloom, the newborn.

The Blooms of Banjeli

7.0 1986
Separate Tables

It's February in Eastbourne - a cruel month. Some hotel residents on Grand Parade are being shunted upstairs to new rooms they do not really like. Seaside hotels now chase the conference trade. Permanent residents, once needed out of season, are no longer so welcome. Mrs Sybil Bloom, 86, is unhappy with her move, so is Mrs Muriel McNab, 85. But the two widows have little choice - they move up or they move out, as their hotel gets a £20 million face-lift. Mrs McNab has lived at the Burlington for 17 years and wants to stay. So does Mrs Bloom; "Not many hotels take residents these days, so where would I go?" Only a few years ago there were more than 100 residents on Grand Parade. Now there are just 30 - a dauntless breed of touching, frail, cheerful people, who simply wish to see out their days in peace on this select seafront strip.

Separate Tables

NR 1988
Wir sind Sintikinder und keine Zigeuner

The nine-year-old Sinti girl Brigitta shows us her world. She lives with her family in a caravan site on the outskirts of a small Bavarian town. Everybody still speaks Romani and continues to live by the customs handed down. That means that the children take part in adult life and that the very highly respected parents describe how it used to be. In this community, all age groups live together naturally. For these Sinti, `gypsy' is an insult. At school they are taught there are two cultures, two languages and two realities: that of the Sinti and that of the Germans. While German is spoken at school, the only pupils are Sinti children. Brigitta animatedly describes the material deprivations, which are mollified by the life as `one big family'. Brigitta knows all too well where she belongs.

Wir sind Sintikinder und keine Zigeuner

NR 1981