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Accordions have returned, not only with amusement, but with a beautiful, eloquent, haunting, and downright exciting vengeance!
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Beyond Silence is about a family and a young girl’s coming of age story. This German film looks into the lives of the deaf and at a story about the love for music. A girl who has always had to translate speech into sign language for her deaf parents yet when her love for playing music grows strong she must decide to continue doing something she cannot share with her parents.
Jazz in Love tells the story of Jazz, a young man from Davao whose dream wedding is within reach: his boyfriend of 11 months has proposed. Because no law allows him to get married in the Philippines, he must fly to Germany, his boyfriend's home country, and tie the knot there. One of the things that stand in his way is his inability to speak Deutsch, and to address that he must temporarily relocate to Manila for language lessons. Meanwhile, his parents remain completely unaware of the radical changes that his life is about to undergo.
Rahul Seth is a dashing young millionaire who believes he is "western" enough to rebel against his mother and grandmother. They are not too keen about his Caucasian girlfriend Kimberly who, to make matters worse, is a pop star. Before you can say "karmic intervention," Kimberly dies in a freak accident and Rahul is devastated. Instead of allowing him to mourn in peace, Rahul's mother sees the opportunity she's been waiting for. She threatens to call off his sister's wedding unless he finds himself a "nice Indian girl." Rahul enlists the services of Sue, a fiercely independent escort whom he believes to be Hispanic, and therefore not "married" to the conventions taught to young Indian women. With a wink in her eye, Sue accepts the deal to pose as his Indian bride-to-be. She needs the money and having never been a fan of the typical Indian male, she feels her heart is safe. The charade begins....
Magic Mirror combines a re-staging of the French Surrealist artist Claude Cahun’s black and white photographs with selected extracts from her book Aveux Non Avenus (Confessions Denied). In Surrealist kaleidoscopic fashion the film creates a weave between image and word, exploring the links between Cahun’s photographs and writing as well as between those of the films of Sarah Pucill, as both artists share similar iconography and concerns.
Blind Light is filmed in the artist’s London loft. The presence of camera, studio and artist/performer are registered through image and sound, the loss of the former filling out the presence of the latter. In this way the physicality of object, space and subject as well as their inferiority is fleshed out, mapping out a space that is at once material and psychical. Controlling the light she allows into the frame, the artist lifts the blinds or pulls them shut, applies or removes lens filters, opens wide the aperture or closes it. Each performance or action threatens the image as it shifts in and out of ‘proper’ exposure until it disappears completely. Focusing either on the window or the sky, the artist narrates her camera operation whilst also describing what she sees; intermixing receptive and projective vision.
