Also Directed by Ben Rivers
Charting the beginnings of the time, through the descent of man, on to an uncertain future - all shot throughout the seasons in the garden of S, who lives in the wilderness and builds contraptions.
A collection of films from an eclectic array of contributors commissioned to raise funds for the Bristol independent cinema The Cube.
“A meditation on the illusion of filmmaking, shot behind the scenes on a film being made on the otherworldly beaches of Sidi Ifni, Morocco. The film depicts strange activities, with no commentary or dialogue; it appears as a fragment of film, dug up in a distant future—a hazy, black-and-white hallucinogenic world.”—Ben Rivers
A film by Ben Rivers
A hand-processed portrait of Jake Williams – who lives alone within miles of forest in Aberdeenshire, Scotland. Jake always has many jobs on at any one time, rarely throws anything away, is an expert mandolin player, and has compost heaps going back many years. He has a different sense of time to most people in the 21st Century, which is explicitly expressed in his idea for creating hedges by putting up bird feeders.
A film by Ben Rivers
This new work is developed from footage collected during a trip to the remote and beautiful sub-tropical island of Vanuatu in the South Pacific. In March 2015, after Rivers’ visit, Vanuatu was devastated by Cyclone Pam, laying waste large parts of the islands. River’s 16mm lm material has become a record of a place that has irrevocably changed. Filmed on 16mm and then digitised, island imagery of active volcanoes, underwater WW2 debris, children playing, and wrecked boats transform into intangible digital recollections of the island. Images of the eroded land merge with eroding lm and deteriorate until they are no longer recognisable.
Set in a deserted, silent at, laden with mementoes and artefacts belonging to a now departed inhabitant. The film pieces together an elusive biography of a traveller to far flung destinations. There is a heavy stillness in the deserted space, the inhabitants faded memories are retraced by Rivers, but remain inescapably unresolved; narratives flicker and then disperse in succession; the immateriality of life is reflected in the material left behind.
A portrait of Astika, who lives on an island in Denmark. He has lived in a run down farm house for 15 years and his project has been to let the land around him grow unchecked, but now he has been forced to move out by people who prefer more pristine neighbours.
Bogancloch will continue the ongoing project between the flmmaker and Jake Williams, a man who has lived in the middle of Clashindaroch Forest for the past four decades. The flm will fall somewhere between fction and documentary, showing quotidian aspects of his life, alongside constructed episodes of a more fctional and even dream-like nature, with other characters showing up, such as a singing group of ramblers. It will begin in a classroom, with Jake teaching a cosmic looking science experiment, and end moving out into the cosmos. Along the way there will be fre, snow, rain, roadkill and other unexpected things, flmed on b/w 16mm and 35mm flm, hand-processed. This technical aspect fts with Jake’s environment, being physical, open to accident and chance, and dirt.
Also Directed by Anocha Suwichakornpong
Thursday resulted from the famous Danish CPH-Dox projects whereby two filmmakers (one European, one non-European) collaborate. Suwichakornpong and Kameric wrote visual dialogues from Asia and Europe, as it were.
A kaleidoscopic video essay exploring the state of contemporary Thailand.
The chronicles of a day in the life of a nameless woman as she wanders around Singapore. Part documentary part video essay, 'Nightfall' is a fictionalized account of Suwichakornpong's time spent during a residency researching Thai politics in a foreign land.
A film director and her muse who was a student activist in the 1970s, a waitress who keeps changing jobs, an actor and an actress, all live loosely connected to each other by almost invisible threads. The narrative sheds its skin several times to reveal layer upon layer of the complexities that make up the characters’ lives.
Produced by the Luang Prabang Film Festival, "MEKONG 2030" is a collection of short narrative films that envision the future of the Mekong River from five different national and cultural perspectives. Set in the year 2030, they aim to both entertain and inspire audiences to actively protect this critical life source.
Focuses on a woman who lives across time and is an eyewitness to the collapse of the three kingdoms of Siam, as Thailand was then known.
This short video is set in Mahachai, a town less than an hour away from Bangkok known for its seafood processing industry. The town, geographically situated by the river, is the site of many factories and has the highest number of Burmese workers outside of Burma. It is estimated that as many as 300,000 Burmese reside in Mahachai. Most of the Burmese are working, both legally and illegally, in these factories. Just like any other day in Mahachai, Wawa Kai, a Burmese immigrant worker wakes up. She brushes her teeth and takes a cold shower. She goes to work at a factory where she grades squids and shrimps according to their sizes. But today she is not feeling well, and has to take the afternoon off.
Explores the relationship between Ake, a young man who is paralyzed from the waist down after an accident, and Pun, the male nurse who takes care of him, and of course Ake's father. Ake is at first cold towards his nurse Pun, but as Pun continues to earnestly take care of him he starts to open up his heart through candid conversations. The physical contact with Pun makes him rethink physical desires that he wants to forget. The grudge he held against his father slowly abates. All of this slowly becomes the motivating factor to confirm that he is alive, albeit with physical problems.
A man and a mysterious women explore Bangkok over the course of one night.
Lublae is a district in northern Thailand that used to be known as the 'hidden' land, due to its remote location ('lub' means 'hidden' in Thai). Others say that Lublae is a derivative of Lublang, the name of the forest in the area. 'Lang' means 'evening' in the language of Lanna (an old kingdom in present day northern Thailand) as the forest was so dense it often got dark before sunset. Legend has it that the residents of Lublae were all women and that they tolerated no lies, no matter how small.
