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- An undelivered letter written by a Japanese activist that was lost on its way, has been found by a Palestinian filmmaker after 30 years.
- OUTPOST zooms in on the stark reality of an isolated society of miners in Barentsburg, Russia's northernmost settlement, located in Norway's Svalbard archipelago. At the beginning of the 20th-century coal became the black gold of the north, but given the more recent crash of coal prices, Moscow is forced to subsidize the mining operation to maintain a strategic geopolitical foothold in this Arctic region. Although Catrysse strays away from explicit statements on the larger political context, the viewer cannot but notice a state of denial. Outpost gives a gloomy prospect to a faltering industrial model that is facing its own exhaustion.
- Four young people fascinated by the book N.P meet over the summer in Japan. They all share a connection or history with this collection of autobiographical stories written by the late Sarao Takase.
- In SPILLIAERT, we joyfully rediscover a taste for the interwoven mix of genres that captivated us in N.P (2020). Lisa Spilliaert uses the pretext of an investigation into her potentially shared roots with Léon Spilliaert, the great master of Belgian Symbolism, in order to combine a brief, but lively portrait of the painter with an approach which is sensitive to his work, with a joyful meditation on notions of heritage and lineage, all set to the rhythm of her own rap music. Since its inception, rap has been a way of revindicating identity and here, Lisa Spilliaert seizes her opportunity to do so literally and joyfully. The film opens with a bust shot of her, surrounded by works of art, paintings and sculptures, her determined gaze fixed on the camera as she raps furiously. Her words hit the air with the same vehement self-affirmation as the paintings of the man who shares her initials, and the same surname, while the camera lingers on the motifs beloved of the painter. The director integrates traditional biographical interviews, documentary material - archives and documents generated as part of her genealogical research - employing a sensual, detailed approach using close-ups of works by Léon Spilliaert and the oblong forms of sculptures by her own sister. In counterpoint to the visual marriage of these two pictorial and sculptural materials, a descendant of the painter comments on the voice-over on his intimate relationship with his great-grandfather's work. The genealogists announce their verdict: if the criterion used is a family tree Lisa and Léon are not related. However, the heart of the film affirms that there is a common trunk which unites the painter and the filmmaker like two branches reaching out in the same direction - towards art.