resources and multimedia

FILMS SOFTITLED IN 2017

Films softitled in French:

Section Title Director Runtime Country
AT Bang Bang Andrea Tonacci 85 Brazil
AT Blablabla Andrea Tonacci 26 Brazil
AT Conversas no Maranhão Andrea Tonacci 117 Brazil
AT Já Visto Jamais Visto Andrea Tonacci 54 Brazil
AT Jouez encore payez encore Andrea Tonacci 65 Brazil
AT Olho por Olho Andrea Tonacci 20 Brazil
AT Os Arara I e II Andrea Tonacci 120 Brazil
AT Os Arara III Andrea Tonacci 30
AT Serras da Desordem Andrea Tonacci 135 Brazil
AT Struggle to Be Heard: Ampam Karakrás Andrea Tonacci 30 Brazil
AT Struggle to Be Heard: First Encounter of Southern Cone Indian Organization in Ollanvtambo Andrea Tonacci 30 Brazil
CI A Strange New Beauty Shelly Silver 50 United States
CI Postcards from the Verge Sebastian Mez 72 Germany
CI Xiongnian zhipan (We the Workers) WEN Hai 174 China
CM Alazeef Saif Alsaegh 21 United States
CM Duelo (Duel) Alejandro Alonso 12 Cuba
CM Now He’s out in Public and Everyone Can See Natalie Bookchin 24 United States
CM Nyo Vweta Nafta Ico Costa 21 Portugal, Mozambique
CM The  Brick House Eliane Esther Bots 15
CM Undo Majed Neisi 39 Iran
PF Ala hafet alhayat (On the Edge of Life) Yaser Kassab 44 Syria
PF Casa Roshell Camila José Donoso 71 Mexico, Chile
PF Du zi cun zai (Lone Existence) SHA Qing 77 China
PF Hakir (Wall) Moran Ifergan 67 Israel
PF Juntas (Together) Nadina Marquisio, Laura Martínez Duque 71 Colombia, Argentina
PF Pagani (Pagans) Elisa Flaminia Inno 52 Italy
DE Chapucerías Enrique Colina 11 Cuba
DE Mato Eles? Sérgio Bianchi 34 Brazil
DE Nightcleaners (Part 1) Berwick Street Film Collective 90 United Kingdom
DE Rapunzel Let Down Your Hair Esther Ronay, Susan Shapiro, Francine Winham 75 United Kingdom
DE Sigmund Freud’s Dora. A Case of Mistaken Identity Jay Street Film Project 35 United States
DE Triste Trópico Arthur Omar 75 Brazil
IK Shakespeare Must Die Ing K 176 Thailand
LA As Above, so Below Larry Clark 52 United States
LA Hour Glass Hailé Gerima 13 United States
LA Killer of Sheep Charles Burnett 81 United States
LA My Brother’s Wedding Charles Burnett 81 United States, Germany
LA Passing Through Larry Clark 105 United States
LA Rain (Nyesha) Melvonna Ballenger 16 United States
LA Several Friends Charles Burnett 22 United States
LA The  Horse Charles Burnett 14 United States
LA Ujamii Uhuru Schule Don Amis 9 United States
LA When It Rains Charles Burnett 13 Switzerland
SP Austerlitz Sergei Loznitsa 94 Germany
SP Burma Storybook Petr Lom 81
SP El  mar la mar J.P. Sniadecki, Joshua Bonnetta 94 United States
SP Festa (Feast) Franco Piavoli 40 Italy
SP Kharej al-itar aw thawra hata el nasser (Off Frame aka Revolution until Victory) Mohanad Yaqubi 62 Palestine, France, Lebanon, Qatar
SP La  Cinémathèque du documentaire – The Cinema Travellers Amit Madheshiya, Shirley Abraham 96 India
SP O Cinema, Manoel de Oliveira e Eu (The Cinema, Manoel de Oliveira and Me) João Botelho 81 Portugal

Films softitled in English:

Section Title Direction Runtime Country
CF Chaque mur est une porte Elitza Gueorguieva 58 France
CF Derniers jours à Shibati Hendrick Dusollier 60 France
CF Hamlet en Palestine Nicolas Klotz, Thomas Ostermeier 92 France, Germany
CF Prends, Seigneur, Prends Cédric Dupire, Gaspard Kuentz 92 France, India
CI Changjiang XU Xin 156 China
CI Ejercicios de memoria Paz Encina 70 Paraguay, Argentina, France, Germany, Qatar
CI Istiyad ashbah Raed Andoni 94 Palestine, France, Switzerland, Qatar
CI Luz Obscura Susana de Sousa Dias 76 Portugal
CI Maman Colonelle Dieudo Hamadi 72 France
CI Martírio Vincent Carelli, Ernesto de Carvalho, Tatiana Almeida 162 Brazil
CI No Intenso Agora João Moreira Salles 127 Brazil
CM Tepantar Pierre Michelon 28 France
CM Whipping Zombie Yuri Ancarani 30 Italy
PF Boli Bana Simon Coulibaly Gillard 60 Belgium
PF Vetal nagri Léandre Bernard-Brunel 53 France
PF Vote off Fayçal Hammoum 82 Algeria
PF Wled Bayrout Sarah Srage 59 France

FILMS SOFTITLED IN 2018

Films softitled in French:

Section Title Director Runtime Country
CI Anni (Anni) Rikun Zhu 80 China
CI Fotbal infinit (Infinite Football) Corneliu Porumboiu 70 Romania
CI Minatomachi (Inland Sea) Kazuhiro Soda 122 Japan, United States
CI Unas preguntas (One or Two Questions) Kristina Konrad 237 Germany, Uruguay
CI Zentralflughafen – THF (THF – Central Airport) Karim Aïnouz 97 Germany, France, Brazil
PF Black Mother (Black Mother) Khalik Allah 75 United States
PF Dom Boraca (Dom Boraca) Ivan Ramljak 49 Croatia
PF Harvest Moon (Harvest Moon) Zaheed Mawani 70 Kyrgyzstan, Canada
PF Los Árboles (The Trees) Mariano Luque 61 Argentina
PF Fail to Appear (Fail to Appear) Antoine Bourges 70 Canada
PF Salarium (Salarium) Sasha Litvintseva, Daniel Mann 42 United Kingdom
PF Wild Relatives (Wild Relatives) Jumana Manna 65 France, Lebanon, Norway
CM Las fuerzas (The Forces) Paola Buontempo 18 Argentina
CM Optimism (Optimism) Deborah Stratman 15 Canada, United States
CM The White Elephant (The White Elephant) Shuruq Harb 12 Palestine
CM Uppland (Uppland) Edward Lawrenson 30 United Kingdom, Ireland
For Another ’68 Agitátorok (Agitátorok) Dezső Magyar 69 Hungary
For Another ’68 al-Ziyara (The Visit) Kais al-Zubaidi 10 Syria
For Another ’68 And I Make Short Films (And I Make Short Films) S.N.S Sastry 16 India
For Another ’68 And Miles to Go… (And Miles to Go…)  S. Sukhdev 14 India
For Another ’68 Brecht die Macht der Manipulateure (Break the Power of Manipulators) Helke Sander 48 Germany
For Another ’68 Cuarto poder (Fourth Estate) Helena Lumbreras, Mariano Lisa 37 Spain
For Another ’68 Dionysus in ‘69 (Dionysus in ‘69) Brian De Palma, Richard Schechner 86 United States
For Another ’68 El Grito (The Shout) Leobardo López Arretche 102 Mexico
For Another ’68 Flash Back (Flash Back) S.N.S Sastry 21 India
For Another ’68 I Am 20 (I Am 20) S.N.S Sastry 19 India
For Another ’68 I Am Somebody (I Am Somebody) Madeline Anderson 30 United States
For Another ’68 Mi aporte (Mi aporte) Sara Gómez 33 Cuba
For Another ’68 Miat wajh li yom wahed (A Hundred Faces for a Single Day) Christian Ghazi 64 Lebanon
For Another ’68 This Bit of That India (This Bit of That India) S.N.S Sastry 20 India
For Another ’68 Umano non umano (Human Not Human) Mario Schifano 95 Italy
In Between: Tacita Dean Event for a Stage (Event for a Stage) Tacita Dean 50 United Kingdom
In Between: Tacita Dean Michael Hamburger (Michael Hamburger) Tacita Dean 29 United Kingdom
In Between: Tacita Dean The Uncles (The Uncles) Tacita Dean 77 United Kingdom
Ir/réel Den’ Pobedy (Victory Day) Sergei Loznitsa 94 Germany
Ir/réel Extinção (Extinction) Salomé Lamas 80 Germany, Portugal
Ir/réel Good Luck (Good Luck) Ben Russell 143 France, Germany
Ir/réel The Rare Event (The Rare Event) Ben Rivers, Ben Russell 48 United Kingdom
Shinsuke Ogawa and the Ogawa Pro Collective Gennin hokusho – Haneda toso no kiroku (Report from Haneda) Shinsuke Ogawa 58 Japan
Shinsuke Ogawa and the Ogawa Pro Collective Nihon kaiko sensen — Sanrizuka no natsu (The Battle Front for the Liberation of Japan — Summer in Sanrizuka) Shinsuke Ogawa 108 Japan
Shinsuke Ogawa and the Ogawa Pro Collective Paruchizan zenshi (Prehistory of the Partisans) Noriaki Tsuchimoto, Masao Tsusumi 120 Japan
Shinsuke Ogawa and the Ogawa Pro Collective Seinen no umi – Yonnin no tsushin kyokuseitachi (Sea of Youth – Four Correspondence Course Students) Shinsuke Ogawa, Yuji Okumura 56 Japan
Special screenings Après 68, La révolution n’est pas un diner de gala (After 68, Revolution Is Not a Gala Dinner) Kristel Le Pollotec 53 France
What Is Real? 40 years of Thinking A Question of Leadership (A Question of Leadership) Ken Loach 50 United Kingdom
What Is Real? 40 years of Thinking Which Side Are You On? (Which Side Are You On?) Ken Loach 53 United Kingdom

 

Films softitled in English:

Section Title Director Runtime Country
CF Djamilia (Jamila) Aminatou Echard 84 France
CF L’Empire de la perfection (In the Realm of Perfection) Julien Faraut 94 France
CF Western, famille et communisme (Western, famille et communisme) Laurent Krief 83 France
CF Les Flâneries du voyant (Song of a Seer) Aïda Maigre-Touchet 72 Canada, France
CF Syn (The Son) Alexander Abaturov 70 France, Russia
CF The Night Readers (The Night Readers) Mathieu Kleyebe Abonnenc 45 France
CI Antígona (Antigone) Pedro González Rubio 74 France, Mexico
CI Kinshasa Makambo (Kinshasa Makambo) Dieudo Hamadi 74 Democratic Republic of Congo, France, Switzerland, Germany, Qatar, Norway
CI Terra Franca (Ashore) Leonor Teles 82 Portugal
CI Waldheims Walzer (The Waldheim Waltz) Ruth Beckermann 93 Austria
PF Al di là dell’uno (Beyond the One) Anna Marziano 53 France, Italy, Germany
PF Angkar (Angkar) Neary Adeline Hay 71 France
PF Lembro mais dos corvos (I Remember the Crows) Gustavo Vinagre 80 Brazil
CM jeny303 (jeny303) Laura Huertas Millán 6 Colombia, France
CM Olhe bem as montanhas (Look Closely at the Mountains) Ana Vaz 30 Brazil, France
SP La telenovela errante (La telenovela errante) Raoul Ruiz, Valeria Sarmiento 78 Chile

Mon invisible

Federico Rossin

Il mio film invisibile è “Mueda, Memória e Massacre” di Ruy Guerra, del 1979. Ho scoperto questo film grazie ad un amico, un grande regista, John Gianvito. Me ne ha parlato come di un capolavoro perduto del cinema, come di un film necessario di cui si sono perse le tracce. Ho poi letto di come Guerra, nato in Mozambico e poi emigrato in Brasile, fosse tornato nel suo paese a girare il primo lungometraggio mai realizzato laggiù. E scelse un episodio terribile, il massacro di Mueda del 16 giugno 1960, in cui l’esercito coloniale portoghese sterminò oltre 600 persone che chiedevano la fine dei lavori forzati. Guerra fece un film totalmente radicale, intrecciando vertiginosamente fra loro ricostruzione, finzione e documentario e coinvolgendo nella realizzazione i sopravvissuti al massacro e i nuovi abitanti di Mueda. Ho cercato ovunque una copia in DVD di “Mueda”, contattando collezionisti di ogni continente e non sono mai riuscito a vederne neanche una sequenza: è come se, grazie alla forza delle parole di John, quel film mi fosse entrato come una spina nel cuore. Vorrei potermi togliere questo dolore – che ha poco di fame cinefila e molto di rabbia politica – vedendolo finalmente durante il festival.

The Queen’s Guards

Brad Stevens

The Queen’s Guards (Michael Powell, UK, 1961)

I recently attended a 50th anniversary screening of Michael Powell’s Peeping Tom (1960) in London, accompanied by a few friends. During the discussion that followed, I claimed that, due to the film’s scandalous reception, Powell had never been permitted to make another feature in the UK. I later realized that this was incorrect.Indeed, the year after Peeping Tom, Powell directed The Queen’s Guards, a film which seems to have almost completely vanished.

Of the few people who have seen The Queen’s Guards, which was made for 20th Century-Fox, none seems to think much of it: Ian Christie, in his book Arrows of Desire: The Films of Michael Powell and Emeric Pressburger (Waterstone, 1985) suggests it was “almost like an act of contrition” for his previous fillm, and Powell himself called it “the most inept piece of filmmaking that I have ever produced or directed”. Yet descriptions of the narrative structure – which apparently involves a Guards officer (Daniel Massey) recalling his cadet training and combat experience in a series of flashbacks – suggests a possible connection with The Life and Death of Colonel Blimp (1943), and there would seem to be some echoes of Peeping Tom in the protagonist’s attempt to both imitate and rebel against his obsessively traditional father (intriguingly played by Massey’s own father). It’s also worth noting that this was the last of Powell’s three attempts to work in a widescreen ratio: his other widescreen features, Oh…Rosalinda!! (1955) and Luna de Miel/Honeymoon (1959) almost qualify as invisible works themselves (I have only been able to see the latter in a panned-and-scanned television transfer).

The Queen’s Guards has not played on British television since 1974, and, as far as I can make out, has not been screened theatrically since it was shown as part of a Powell retrospective at the San Sebastián festival in 2002. The film may well be as awful as those who have seen it insist, but the available stills suggest that Powell was at least being characteristically attentive to the emotional possibilities of colour cinematography. As a late work by Britain’s finest filmmaker (I except Hitchcock, who made his most important films in America), it would be a great shame if it were allowed to languish in obscurity.