Travessias
|||||||| DOM 3 NOV · 16H30 · Cinema São Jorge, Sala 3
// Seguido de Debate COLONIALISMO / DECOLONIALISMO E AS SUAS REPRESENTAÇÕES na Sala 2, às 18H00
Yasmine Benabdallah
Marrocos · Doc. · 2023 · 13’
“O sol a pôr-se atrás do oceano assombrava-me e continuei a procurá-lo em Tânger. Sentia-me estrangeira numa cidade com um passado colonial diferente. Entre o meu ser e as paisagens fragmentadas, surgiu um filme. Um relato de viagem sobre a perda e a cura. “Visions of a Dreamt Sunset” junta imagens de paisagens e arquivos, cartazes de filmes americanos dos anos 50, mãos a agarrar películas, sons do oceano que encontram a minha voz.”
The sun setting behind the ocean haunted me and I kept looking for it in Tangier. I felt foreign in a city with a different colonial past. Between fragmented selves and landscapes, a film emerged. A travelogue on loss and healing. Visions of a Dreamt Sunset brings together images of landscapes and archives, 1950s American film posters, hands grasping film, sounds of the ocean meeting my voice.
Argumento Screenplay Yasmine Benabdallah
Produção Production Yasmine Benabdallah
Fotografia Cinematography Yasmine Benabdallah
Montagem Editing Yasmine Benabdallah
Direcção de Arte Art Director Yasmine Benabdallah
Som Sound Yasmine Benabdallah
Distribuição Distribution Yasmine Benabdallah
Estreia Mundial World Première
In 2021, I was invited to be a resident artist at the Cinématheque de Tanger and work with their archival collection. Upon arriving in the city, I felt alienated and took refuge in those images, in keeping a travel journal, and in the ocean. The film is the result of that month there and of a subsequent trip months later to mend it all. Facing the ocean, gazing as far beyond it as the eye allows, the landscapes repeat in an eerie similarity while the dreamscape attempts to break the colonial spell. The sounds of the water and my voice permeate the worlds, slowly blurring them. The ocean leaks through the archives in hopes of mending bruised histories. Visions of a dreamt sunset self-reflects on filmmaking, images from films, the space of physical and imaginary projection, and film material itself. Wandering in post-colonial spaces and colonial imaginaries, the body in the ocean tries to save film from drowning. Or is it that it’s cleaning colonial film from the pain it carries? Then, how does one mend without erasing?
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