Happy nostalgia. Natsukashii tells the story of one night of remembering, as memories of a certain time, and a certain person, come flooding back.
Years before she saw a man being swallowed by a wave, inside a swimming pool. With this event, time ceased to be linear, and in a split second her family disappeared, leaving only behind the traces of their presence. Through the window´s reflex she realises her face has changed - the face is longer and the hair; she has memories inside her head, that she doesn´t recognize. In another time, she returns to that place to try to confirm her memory.
A daring documentary delving into the experiences of a Ukrainian forced labourer in Germany during World War II, exploring themes of love, loss, and profound longing. When the filmmaker’s grandmother was 19, she was taken from Soviet Ukraine to Germany to work on a Bavarian farm under National Socialism. She had the luck and perseverance to survive the hardships of the forced famine in her homeland and forced labour in the new one. The stories of her everyday life – learning how to milk a cow, and falling in love – are interspersed with three generations of reflections on politics, longing, feelings of displacement and loss. Hand-processed black & white film, colour film, photographs and official documents create a montage of different perspectives. The hand-touch aesthetic combines with the acousmatic effect of disembodied voices, in this deeply intimate portrait obscured by memory loss, mistranslation, fear and trauma.
An isolated teenager explores the past, his late father, and unstable memory through the use of celluloid on his 16th birthday.
David’s beach experience within a motion image.
A student is about to move on to the next phase of his life when an incident draws him into the unknown.
Memory prevents rest and a woman about to die takes advantage of cinema to tell her story (inseparable from that of Franco’s Spain) and to say goodbye. A terrace as a border and a song that crosses time. At home, nothing is always—and everything is still—in the present and defunct now. A home movie of ghosts, a generous gesture of intimacy and solidarity that not witnesses two people at the end of their long lives, but also reveals the weight of history and of the 20th century, which is always present today.
After years living in the capital, Ariel returns to her hometown on the coast with a new identity, having to deal with all the feelings that have been internalized during her absence, while at the same time meeting up again with her younger sister, Ana.
Buck Southworth's life as an Air Force aircrewman narrated by his wife, Priscilla Southworth, now a volunteer at Cape Canaveral National Cemetery, she tells a story about her husband, bravery, dedication to the mission and love.
A bittersweet memory of a Valentine's Day.
There is a distance, emotionally not only physically, between Jimena and her grandmother, Miri. This is a way to try and get closer, to understand, to accept, mixing past and present she tries to find her grandmother, in an attempt to reconnect with something that once existed, but that it no longer does.
Pia Yona Massie's Sayonara Super 8 uses personal archival footage to ask questions about the fragile nature of memory, human relationships and the foibles of the medium itself.
Pegah talks about Gholam, a man who’s not like her father, mother, uncles, or aunts, even though he’s always present at family gatherings. Gholam films these everyday scenes with his own camera. At the time, Pegah can’t imagine what the purpose of these films might be, but she’s happy to pose before the lens of this family friend, who she’s certainly very fond of.
