CINE INFINITO / CINEMA INFINIT / INFINITE CINEMA - Cultural Work

[24] [ENG]
Programme 1
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> ‘Women Videoletters - A Second Text on War &
Globalization’
Renate Lorenz, Malou Bülow, Nadja Damm, Karin
Kasböck, Christine Lamberty, Tania Eichler, Karin
Michalski, Anne Frisius. Germany, 2000, 70’.
This is a compilatin of short videos, or
“letters” sent by women activists, directors or
artists from a variety of different countries as
a reaction to the war consequences in the wake
of the 11 of September 2001 bomb attacks: the
wars in Afghanistan and Iraq, as well as other
effects such as, for example, the racist security
measures imposed in Germany and the U.S.A.
Women Videoletters pretends to highlight
the effects of war on gender hierarchies and
heterosexual norms, and how these hierarchies can
become the basis of war itself. This edition of
Women Videoletters includes declarations of women
from U.S.A./Iraq, Israel, Holland/Argentina,
Chiapas, Palestine, Pakistan, Turkey, Uruguay and
Germany. Each videoletter has a lengh between 1
and 15 minutes.
Programme 2
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> ‘Mein Lebel Teil 2. Mi Vida’
Script, direction and production: Angelika Levi.
Alemania 2003, 35mm, 85’.
«When I turned 18 my mother gave me a piece of
paper with a list of ten points on it, which
was her legacy for my future. The first point
read: the meaning of our life is evolution, not
perfection. Anything which has been created
and which is good can be taken advantage of.
Everything is constituted on the basis of things
we already have. You are a descendant of Levi,
brother of Joseph, who lived three thousand years
ago. Mi mother used to collect and archive her
own history. I have inherited it and I have shot
my own film, which focuses on perception, legacy,
and the relationship with history.
This film is an attempt at explaining
what was being said and what wasn’t being said
in my family, by using all sorts of objects,
photographs, sound and film recordings, as well
as a reflection on how history is constantly
reproduced, archived, commented on and classified,
as it is being done in my Jewish tradition, with
the objective of achieving the final result of a
tale, a narrative.»
The film is a box inside a box. On the
outside, what develops is the family story, the
tale of my mother’s life. The spectator discovers
that the mother’s legacy has been ordered in a
way which commands a questioning of what has
been repressed and displaced, and what is left
to be corrected: the grandmother’s, mother’s and
daughter’s sensitivity to the “German reality”,
as opposed to the power of definition of the generation
guilty of the shoa, its sympathisers and
descendants, who seem to keep the privilege of
not having to reflect on their own family’s past.
Programme 3
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> ‘La Memoria Interior’
Direction, script and production: Maria Ruido.
España, Betacam, 2002, 33’.
This feature documentary, a result of a trip to
Germany and of a personal research which lasted
over two years, engages the subject of memory
construction and of the mechanisms of production
of history
Through a tale of the history of my
family, the film focuses on the memory of the
recent Spanish migration to Europe, and reflects
on the mechanisms of oblivion and remembrance,
recuperating the idea of the construction of
memory as a nexus and as dialogue, and an
elaboration based on personal experience rather
than on the idea of history and official memory,
restricted to the institutional and articulated
on the aestheticising and de-activation of the
political subjects.It reiterates the insistence
of some of my earlier works on the capacity of
history construction of each and every one of us,
and on the necessary articulation of personal and
collective experience for the elaboration of a
diverse and heterogeneous politics of memory.
‘La memoria interior’ also highlights
the protagonism of the body as a territory of
memory and absence, and as a political agent:
the migration politics of the Spanish State in
the 60’s and 70’s is also a kind of bio-politics
and of control over the workers, with very destabilising
effects on subjectivities.
The migrant bodies are registered bodies,
necessary deambulators, a compulsory flow of
workforce, and remembered absences to return home
years later. This is a video on the recuperation