Arqueologia. Patrimonio a la deriva
France/ USA/ 26′
Atelier Morales/ Golden Rabbit Films
THE STORY by ATELIER MORALES: “PATRIMONIO A LA DERIVA, ARQUEOLOGÍA”
A year ago in July, at the Galería Nina Menocal in Mexico City, Atelier Morales (Juan Luis Morales and Teresa Ayuso) presented an exhibition entitled “Arqueología No. 2” or Archeology Num. 2 from their series “Patrimonio a la Deriva Arqueología” making reference to the poem “Archeology” by the National Prize for Literature ’86, Cuban-born poet, Eliseo Diego (1920-1994).
Their works depict a Havana house lost and left by their owners who were part of the constant Cuban migration that has taken place for more than 55 years. An archaeologist appears as a ghost trying to unearth the history of such place while trying to understand how quickly families disintegrate when they loose their land of origin, their birthplace, their roots and patrimony.
On the sound tracks, voices of the past come to inhabit the house full of ghosts, of memories and broken promises.
Production (Kerala, India / Geneva, Switzerland).
(Filming and editing)
Theyyam of Gods, Heroes and Ancestors
During the dry season, away from the tourist waves, the districts of Kasaragod and Kannur, north of Malabar in the Indian state of Kerala, become the territory of the great Goddess. Selected in the lowest castes, heirs of ancestral knowledge transmitted from father to son with the greatest devotion, men incarnate, at the request of a temple, a particular or on cyclic dates, various forms of Kali And other deities or heroes of the past. After hours of preparation, the gigantic costumes and the magical make-up completed, these men transformed by the trance will dance for hours, a rhythm specific to each of the deities they incarnate.
In this expression of local myths, the revelation of the divinity of man hides without success. The extraordinary appearance of a teyyam plunges us into a world of extreme subtlety, from make-up often reminiscent of those of the South Pacific, with headdresses sometimes exceeding ten meters in height, until the use of traditional Kali weapons. This carnal archetype of the apparent duality of man and his resolution is pure vision, darshan. Hearing of musical rhythms fed by drums, chenda, cymbals, kuzhittakam, bells of costumes and other instruments, consumes thought and opens the inmost areas of the brain, doors of Consciousness. The sound and visual movements resonate with the infinite possibilities of immensity. The opening to this magic is blessing, joy without ego, listening not furnished by the personality. Amazement and admiration then present the extreme form of non-thought.
Eric Baret. The Tantric Heart of Theyyam
INUIT LANDS The Melting Point
Greenland, USA France
Jack London Grand Prize
Glen Ellen Film Festival
Greenland—the name conjures images of majestic Arctic landscapes and Nordic legends shrouded in mystery. The Inuit of Thule, Greenland—the northernmost people in the world—are proud, heroic hunters whose material and spiritual lives are inextricably bound to nature. The French anthropologist Jean Malaurie discovered these communities in 1951—the year the U.S. government began building a military base in the middle of Thule Eskimo territory. Today, mining, oil exploration, and global warming threaten the traditions and the very existence of this ancient hunter society.
This documentary explores the resilience and the vulnerability of the Inughuit communities of North Greenland, who face new challenges posed by social and climatic changes.