constellation
CANIS MAJOR

available from
MAY 19 | 10 a.m.

(GMT-3 BRAZILIAN TIME)

watch until
MAY 25 | 9 p.m.

(GMT-3 BRAZILIAN TIME)

 

The first program could not fail to host a star bigger than the Sun. We open the Festival with the unsettling rays of fictions that do not stray very far from our present. With the garbage batches from Submarine, we go “searching for foreign lands, and the world misses another world where it can find shelter; affected by its own diseases the nature falls ill, surrounded by excessive heats, thus living over its own pyre: so great is the heat that it spreads across the stars, counting everything as if under a single light”.¹

The Canis Major was the presage of 40 days of extreme drought and heat. It is the mouth of our terrorist narrative, which “incites wars and brings peace back; returning differently, it acts upon the world according to the way it sees it, and rules it with its gaze”.² The war that intends to safeguard the future of a land, to protect a discourse, to set the Zionist stability into flames, to defend with images, sounds, and voice certain existences in course of obliteration.

Films that are impetuous in their depictions of the results of human action, that expose the numerous times we tried to bite the Moon. These are results presumed to be greater than the Sun, causing devastation regardless of where it is, whenever it happens.

The films in this program “fear no forests, cliffs, giant rocks, enormous lions, or the fangs of a foaming javali, and the weapons of wild animals, and spend their flames against the body that stands in their way”.³ They appear on the horizon and are impossible of going unnoticed and, for us, it is impossible to be unaffected by them.

This program brings a focus on filmmaker Larissa Sansour. Her films bring robust reflections on memory, time, exile, archeology, and the construction of narratives. However, saying that we may only absorb this from her films is reducing them to less than what they are. It is part of a desire for taking a closer look at her work, bringing reflections that will unfold both in the essay about these films – published in this catalog and signed by Kênia Freitas and Carol Almeida – as in the masterclass with the filmmaker.

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¹ ² ³ Cf. Manílio. In: FERNANDES, Marcelo Vieira.  Astronômicas, Manílio Tradução, introdução e Notas. 2006. 289 f.

Dissertação (Mestrado em Letras Clássicas), Faculdade  de  Filosofia,  Letras  e Ciências  Humanas  da 

Universidade de  São  Paulo. São Paulo, 2006. p. 60; p. 226.  (Our translation.)

 

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A FILM ABOUT A CIRCLE

(Egypt, 2017, 4’)

directed by

*available in all countries

age rating ALL AUDIENCES

SYNOPSIS

The film is about daily life, repetition and tedium. Connecting the everyday life to the circular shape, with vague beginnings/endings. Between indoors and outdoors , the short captures and documents rituals from everyday life, in a home environment and in familiar places using super 8mm films – a medium that is used to record homemade films, where the process of recording and processing involves repetitions of circular movements.

 

This work is initially made to be played in live double projection of the 8mm films in which one frame is more dominant than the other. The two images interact with each other differently every time when played live.

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BEFORE I FORGET

(Egypt, 2018, 31’)

directed by

*available in all countries

age rating ALL AUDIENCES

SYNOPSIS

A science-fiction story set in an indistinct coastal region, between land and sea, above and below water. El Captain disappears. One of his disciples takes a journey in the ocean to cut off the internet cable, the water level is rising, an amphibian woman appears at the shore looking for her mother, and the memories of two women in a ward intertwine. Scientist Dr. Sharaf is trying to congregate all of them—members of the secret society of amphibians—in an attempt to save the world.

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AS ABOVE, SO BELOW

KAMA FISSAMAA’, KATHALIKA ALA AL-ARD

(Lebanon, 2020, 70’)

directed by

*available in all countries

age rating 10+

SYNOPSIS

A group of people roams in a bare landscape around a set of swings as their only settlement, as if mapping, exploring, reorganizing the open territory they are in. As they move, changes in soundscapes make them virtually cross geographies. In the sky, a moon-like satellite roves above their heads, following them like an omen. The moon, once symbolizing cyclical times, myths and new beginnings, is now the satellite waiting to be conquered and colonized. Reality and fantasy intertwine in an existential quest. Is a new beginning really possible? As below, so above.

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SUBMARINE

(Lebanon, 2016, 21’)

directed by

*available in all countries

age rating 10+

SYNOPSIS

Under the imminent threat of Lebanon’s garbage crisis, Hala, a wild child inside of a woman, is the only one to refuse evacuation, clinging to whatever remains of home.


FOCUS: LARISSA SANSOUR
Narrative Terrorism to Mess with the Mythmachine Math
 

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A SPACE EXODUS

(Palestine, Denmark, 2008, 5’)

directed by

*available in all countries

age rating 10+

SYNOPSIS

A Space Exodus quirkily sets up an adapted stretch of Stanley Kubrick's Space Odyssey in a Middle Eastern political context. The recognisable music scores of the 1968 science fiction film are changed to arabesque chords matching the surreal visuals of Sansour's film. The film follows the artist herself onto a phantasmagoric journey through the universe echoing Stanley Kubrick's thematic concerns for human evolution, progress and technology. However, in her film, Sansour posits the idea of a first Palestinian into space, and, referencing Armstrong's moon landing, she interprets this theoretical gesture as "a small step for a Palestinian, a giant leap for mankind".

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IN VITRO

AL MUKHTABAR

(Palestine, Denmark, United Kingdom, 2019, 28’)

directed by

*available in all countries

age rating 10+

SYNOPSIS

In Vitro is set in the aftermath of an eco-disaster. An abandoned nuclear reactor under the biblical town of Bethlehem has been converted into an enormous orchard. Using heirloom seeds collected in the final days before the apocalypse, a group of scientists are preparing to replant the soil above.

 

In the hospital wing of the underground compound, the orchard’s ailing founder, 70-year-old Dunia is lying in her deathbed, as 30-year-old Alia comes to visit her. Alia is born underground as part of a comprehensive cloning program and has never seen the town she’s destined to rebuild.

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IN THE FUTURE THEY ATE FROM THE FINEST PORCELAIN

(Palestine, United Kingdom, Denmark, Qatar, 2015, 29’)

directed by

*available in all countries

age rating 10+

SYNOPSIS

A self-proclaimed narrative resistance group makes underground deposits of elaborate porcelain—suggested to belong to an entirely fictional civilization. Their aim is to influence history and support future claims to their vanishing lands.

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NATION ESTATE

(Palestine, Denmark, 2012, 9’)

directed by

*available in all countries

age rating 10+

SYNOPSIS

Nation Estate is a 9-minute sci-fi short offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East. The film explores a vertical solution to Palestinian statehood: One colossal skyscraper housing the entire Palestinian population—now finally living the high life.