Film screenings in collaboration with Docs Against Gravity >

FILM SCREENINGS
once in a month
collaboration with Docs Against Gravity
Time: 7.00 p.m.

13 NOVEMBER 2017
Beuys
Director: Andres Veiel

A charismatic German artist, art theorist, pedagogue, activist, and a socio-political reformer, Joseph Beuys believed that all people were artists. In his eyes, anybody could create art and leave his imprint on both art and the surrounding world. Controversial, always in his signature hat, Beuys perceived art not as aesthetically pleasing objects but as a creative, therapeutic activity rooted in politics or social issues. Relying almost entirely on archive footage and superb editing, the film offers a probing insight into the life and work of the artist.

11 DECEMBER 2017
Pre-crime
Directors: Matthias Heeder, Monika Hielscher

‘Pre-crime’ is a term coined by science-fiction author Philip K. Dick, introduced to the general public by Steven Spielberg in ‘Minority Report’. Increasingly used in academic literature, the term refers to penal systems which consider yet uncommitted crimes. Pre-crime consists in all activities aimed at anticipating, disrupting, preventing, or limiting criminal threats. Obviously, monitoring a crime that has not been committed but, somehow, is bound to happen, involves a blatant paradox. In their film, Matthias Heeder and Monika Hielscher shed a light on modern systems of crime prevention already implemented in some countries of western Europe and North America such as the United Kingdom, Germany, and the US.

15 JANUARY 2017
I Am Not Your Negro
Director: Raoul Peck

Basing on previously unpublished excerpts of a partially completed book by James Baldwin, a famous American novelist and essayist, and an abundant body of archive footage and photos, Raoul Peck tells the story of racial segregation, persecutions, and fight for the rights of Black Americans in the US. The film was nominated for Best Documentary Feature at the Academy Awards.
In 1979, a Black American novelist and essayist James Baldwin penned a letter to his literary agent, describing the project he was working on at the time – a book entitled ‘Remember This House’. It was a story of life and three subsequent murders of his friends: Medgar Evers, Malcolm X, and Martin Luther King. Baldwin died in 1987 and never managed to finish the book. His inheritors entrusted the mere 30 pages of the manuscript to Raoul Peck. The director decided to give an ending to the story outlined by Baldwin. Using the book as a bedrock for a cinematic journey across the history of Black Americans, he delved into the intricate legacy of life and death of three eminent figures of the American civil rights movement which permanently changed the US politics and society.

Peck confronts the lyrical rhetoric of Baldwin with the abundant archive footage, juxtaposes the anti-racist civil rights movement of the past and present-day initiatives of #BlackLivesMatter activists. Asking questions about representation of Black Americans in Hollywood and otherwise, he muses on the racist violence which still pervades the US. The film encourages to find underlying links between the life and murder of three leaders of the civil rights movement, asking not only what it means to be a Black American but also what it means to be different. As an epic story about the irrational attitude to the Other, the film presents much more than the racial conflict in the US; the conflict that could be deemed absurd if not for its tragic consequences.

12 FEBRUARY 2017
The Missing Picture
Director: Rithy Panh

In years 1975–1979, Cambodia was a hell on earth. Pol Pot, a tyrant leading the Red Khmers, created one of the most horrifying totalitarian regimes in history. Citizens were thrown out of their homes, ripped of their freedom and identity, and turned into anonymous cogs in the communist machine. People died of exhaustion, starvation or during mass executions The director, Rithy Panh, has been there himself. The memories still haunt him. Browsing through archive footage, he seeks an image that could testify to what happened in Cambodia, give some explanation, shout out the meaning behind those events. Unsuccessful in his search, the director resorts to using clay figurines whose fairy-tale simplicity helps him describe the horror that escapes rational explanation. The image is complete with a voice-over narration: calm but somehow insistent, built on metaphors recurring as a refrain. Rather than a historical account, it resembles a confession or a poem.