May 29, 2014 - Comments Off on AVA Gallery Saturday Cult Programme : True / Story Short Film Screening 31 May 2014
TRUE/STORY Short Film Screening Saturday, 31 May 2014 17:00 - 19:00
This week, the AVA’s Saturday Cult programme screens four films dealing with issues of migrancy and alienation, here curated to obfuscate the erroneous boundaries between documentary and fiction. Thereafter, film fundi Roger Young ignites and directs the conversation between film-makers, producers, artists and you.
CROSSING THE LIMPOPO (2009, 15 min) by DAN HALTER shows the artist being lead across the Limpopo River from Zimbabwe into South Africa, by a cigarette smuggler, along one of the routes used by border jumpers. By playing the notorious barrier up against the passage Zimbabwean immigrants face, Halter uses a dark dark humour to interrogate xenophobia, international relations, and sad and empty promises
BORDER FARM (2011, 32 min) by THENJIWE NIKI NKOSI is a docu-drama about a group of Zimbabwean border jumpers who make their way across the Limpopo River from Zimbabwe to seek work on farms in South Africa. It portrays the many-layered drama of forced migration and is written, acted and crewed by the people who made the journey themselves. The film examines the structure of political, social and architectural power, and the invisible forces that create them.
VECINOS, translated as NEIGHBOURS (2013, 9 min 45 sec) by SYDELLE WILLOW SMITH follows three African migrants as they navigate the urban space of Barcelona: Xumo Nunjo, a musician born in Cameroon; Mamadou Dia, a writer and educator born in Senegal; and Gelia Barila Angri, from Equatorial Guinea. These participants offer an opportunity to re-consider notions of home and belonging in black Europe, framing their narratives around a real or symbolic return to Africa.
OBSCURE WHITE MESSENGER (2010, 15 min 7 sec) by PENNY SIOPIS splices together anonymous film footage found in flea markets with a transcript of the psychiatrist’s interview with Demitrios Tsafendas, the man who murdered Verwoerd. By exploring the fact that Tsafendas was an oddball, an outsider, a drifter, a man to whom no country would give citizenship, not even the place of his birth, Siopis highlights the effects of xenophobia as much as she questions the distinction between fact and fiction.