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Family self-portraits, navigating the gap

Family self-portraits, navigating the gap

The films in this program present cinema as a means to explore the distances—whether cultural, geographical, or generational—that sometimes develop between family members. While the camera acts as a witness to these gaps, it also works in each chosen film to encourage human connection, reweave bonds, and solidify the cultural grounding of our complex and multifaceted identities. Thus, cinema here is both an observer of estrangement and a reparative agent, transforming into a means of bridging the gap, of filling the void. Through unique narrative and aesthetic approaches, the filmmakers of these 5 documentaries explore the artistic and narrative possibilities of cinema in their own ways, embodying the personal quest that each one undertakes.

In The Two Faces of a Bamiléké Woman, a personal film where the collective resonates as a sensitive tribute to Cameroonian women, Rosine Mbakam consolidates and renews her familial and cultural roots that she wishes to pass on to her son. Then, transporting us into a fragmented memory, both in terms of formats and sources, the inventive hybrid film Damascus Dreams reduces the distance between the filmmaker and her father born in Syria. To bridge a gap and bear witness to an abyss—that of the collective suffering and of the erased generation—Chantal Akerman, with Dis-moi, resurrects through spoken word the stories of women who survived the Holocaust, with her grandmother as a backdrop, like a ghost of survival. The grandmother is also a central figure in Jacquelyn Mills' debut feature In the Waves, where the documentarian portrays her in a love letter, a farewell letter, weaving a tribute to intergenerational affection, to the distance of age that separates but never dilutes tenderness. In Fuku Nashi, the identity quest of filmmaker Juli Sando merges reality and (auto)fiction in a kind of unifying closed world with her grandmother.

Beyond the diverse artistic approaches of the films in this program, the documentary process reveals itself as both a unique and collective endeavor, affirming that through cinema, the personal becomes political, and the specific can truly open up to the universal.

 

Hubert Sabino-Brunette and Charlotte Lehoux

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