Geert Verbeke sold animal food. He was selling a lot, so he established and developed a transport company. One day he sold off the company equipment that was dispensable and kept what could be useful in his new life: the life of a collector and exhibition arranger. Since 2007 he's been running a foundation, collecting chiefly surreal Belgian collages and assemblages. In his own words: “Surrealism is typically Belgian. It's an integral part of us.” Inspired by the nature of the collection, the place of exhibition, and the collector's personality, Kuba Szutkowski created his documentary, which takes us to a place that combines the surrealism of nature, art, and the industrial.
The Curonian Spit of coastal Lithuania is a place under constant transition, from various people who have inhabited it, right through to the geographical construction of the land itself. “Curonia” explores the relationship between the artist and the environment of the peninsula through an artistic process of discovery that revolves around sound and focusing on it. The ephemeral elements, materials and objects found on location provided a rich palette for exploration through both passive observation and active engagement. “Curonia” is not only about listening but also illustrates a method for perceiving the environments we inhabit. The film was born out of an artist residency in late 2011 with a follow-up visit in spring 2014, during which daily excursions were made into the landscape to research, collect, and perform on location.
Far from the centre of the city Riga and separated by the historical Spilve Airport with adjoining large allotment site, the suburbs Bolderāja and Daugavgrīva are a kind of social island or biotope – a blend of apartment and detached family houses, backyards, shipyards, docks, yacht club, sea academy, historic fortress and barracks. Here, where Daugava River flows into the Bay of Riga, anglers crowd the sunny mole during the spawning season of sprat, whereas veterans in the local pub are in memorial of their fallen fathers on Victory Day (День Победы).
If, in the words of the legendary bard, “all the world’s a stage,” then the scenes recorded by an unmoving camera on an ordinary football field are its pure essence. Over the course of just two minutes, this cinematic miniature unfolds a story filled with concentration, hope, disappointment, friendship, and the collegiality of sport. A football microcosm in a nice nutshell.
Hundred years have passed since the beginning of World War 1, 75 years since the beginning of World War II. In a world where the ongoing conflicts are shielded away from the European adults and youths who never experienced war, there arise questions of whose wars we remember and tell stories about. The sordid images of repelling bunkers which the author uses situate these war stories far away from pop-culture adventures.
A collaboration between spoken word poet Leah Thorn and filmmaker Ewan Golder, “watch” uses “Super 8 film”, poetry, storytelling and photography to slowly reveal the centrality of memory to identity and the impact of dementia on a father/daughter relationship. With a haunting original soundscape by Lemez Lovas and Moshik Kop, “watch” is a deeply personal and moving film exploring loss, vulnerability, survival and memorialisation.