Ryan Ferko
2021Hrvoji, Look at You from the Tower
Ryan Ferko
An unconventional, tone-shifting travelogue that stitches together nations of the former Yugoslavia through chance encounters, 1970s rock music, architecture, and inventive editing, Ryan Ferko’s Hrvoji, Look at You From the Tower locates traces of the past in an increasingly fractured present.
Hrvoji, Look at You from the Tower
Bunte Kuh
Faraz Anoushahpour, Parastoo Anoushahpour
A faltering narrator attempts to recount a family holiday as memory — sparked by a found postcard, a family photo album, and footage from two distinct locations and spatio-temporalities (Toronto and Berlin) — summons forth a barrage of flickering images, creating psychic hiccups and firecrackers of recall.
Bunte Kuh
Strange Vision of Seeing Things
Ryan Ferko
Despite the title’s twin references to eyesight, Ryan Ferko’s Strange Vision of Seeing Things is a film about unseen buildings and conflicts in Belgrade: those deliberately obscured, those unseeable to a tourist’s eyes, and those masked by monuments, their hypervisibility itself a form of obfuscation.
Strange Vision of Seeing Things
If All That Changes Quickly
Faraz Anoushahpour, Parastoo Anoushahpour
In an age of collective anxiety around issues of safety – be it global, national, or personal –we are interested in the ways in which different practices of resilience change environments, create subjects, unlink temporalities, and redefine relations of security and insecurity. As populist political rhetoric across Europe and North America expresses this in increasingly reactionary ways, often articulated in relation to threats created by other people, what is the relationship to earlier, more fundamental issues of safety that are managed more quietly and bureaucratically?
If All That Changes Quickly
Chooka
Faraz Anoushahpour, Parastoo Anoushahpour
In 1973, the Shah of Iran commissioned the construction of a paper factory in the lush northern province of Gilan. The arrival of heavy industry in a predominately agricultural region brought with it a series of interventions into this landscape, including the construction of modernist apartment blocks and purpose-built villas to house foreign engineers from Canada and the United States and their families. Their stay, however, came to a sudden halt in 1979 with the Iranian revolution forcing them to flee the site overnight. Chooka unfolds around the site of this factory, returning to the location 40 years after it mysteriously appeared in Jacques Madvo’s 1978 footage. Treating his archival material as a guide, the film moves through a landscape altered by industry, technology and revolution, bringing silent images from the past forward to a location caught within a perpetually uncertain present.
Chooka
