Featured on Vdrome, this film by Adham Faramawy explores the boundaries of porous bodies and skin as a site of the political. Skin Flick mixes ointments, creams, bodily fluids, squishy sounds, soil and contaminants as entry points into a redefinition of the self.
Curated by Culture Art Society (CAS), this series presents a selection of films by Sudanese filmmakers Hussein Shariffe (1934 – 2005) and Ibrahim Shaddad (1945 –), highlighting the wide-ranging intellectual, critical, and artistic contributions of African filmmakers and thinkers. The films are available for two days and are followed by a short conversation between CAS founder Awa Konaté and Hussein Shariffe’s daughter Dr. Eiman Hussein.
Here, Kirill Adibekov, Film Curator at V-A-C Foundation Moscow/Venice and member of the CICAE jury of Berlin International Film Festival (2018), presents a non-linear view of Russian cinema from the pre-revolutionary epoch to projects such as Ilya Khrzhanovsky’s DAU, as well as masterpieces such as A Severe Young Man and Eisenstein’s adaptation of The Capital.
Camilo Restrepo on Los conductos, part of our upcoming film festival FRAMES of REPRESENTATION:
‘I met Pinky in 2013 when I was preparing my short film, Shadows Growing as the Sun Goes Down, in which he ended up playing a role. At this time, Pinky was working part-time in a T-shirt printing factory and juggling on crossroads in the city of Medellin. We quickly became friends. He confided his story in me. A few months earlier, he had escaped from a religious sect where he had been for eight years. He hated the person who ran the sect and under whose influence he had been living: a man who made all the members of the sect call him ‘Father’. Pinky said he’d kill him if he were given the chance. Pinky’s account of his life left a deep impression on me. I was touched by his admission of weakness, by the story of his wake-up call, and by the pride he felt in knowing he was now free. But more than this, I was disturbed by the rapport someone so gentle and introverted could have with violence. The sect made much of its money through illegal activities. Pinky, like most of its members, was taught how to use a gun. In the name of the group’s interests, he must have been involved – to a degree that I do not know – in violent actions. Now freed from the grip of the sect, he believed that murdering the guru could be a radical way of putting an end to his suffering and preventing the indoctrination of further young people. For Pinky, violence remained a very tangible means to an end, rooted in the certitude that a good cause justifies an evil. I spoke at length with Pinky about his desire for revenge. Gradually, the idea of helping Pinky to commit this crime, but to commit it fictitiously, emerged. The film began to take shape as we explored the possible ins and outs of the guru’s murder.’
Los conductos is available to stream for seven days from 3 December, 6:45pm GMT.
As part of the ICA’s In Production project, join The Intuitive Cut with film editor Claire Atherton (Chantal Ackerman, Eric Baudelaire) who will speak about the potential for new perspectives in editing, raising questions on approaches to film editing and grammar. Claire will be joined by filmmaker and editor Juan Soto and New Creatives-commissioned filmmaker Henry Bradley, who will screen his short film Frenulum (2020). The event will be chaired by filmmaker and director of the Visible Institute, Phillip Warnell.
Track of the Day
Let us be lovers
We’ll marry our fortunes together
I’ve got some real estate
Here in my bag
So we bought a pack of cigarettes
And Mrs. Wagner's pies
And walked off
To look for America
‘Kathy’, I said
As we boarded a Greyhound in Pittsburgh
Michigan seems like a dream to me now
It took me four days
To hitch-hike from Saginaw
‘I've come to look for America’
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