Languages of Intimacy
Four striking articulations of human exchange and physical intimacy.
This programme of films by female artists presents different approaches to the theme of human interaction and the notion of 'family', each framed through a specific use of space. A story about a community slang school that hovers between documentary and fiction, scenes from Now, Voyager reenacted by a series of mothers and daughters, domestic moments against the backdrop of a northern Norwegian town, and a child’s exploration of the natural world. 
The Simili- School (L'École de Simili-)
Marlies Poeschl/Austria, France/2014/29 min
Hovering between documentary and fiction, this film follows the activities of a group of young middle class drifters who decide to set up a slang school in the suburbs of Paris. The quest to master the language of the street turns into a quest for identity through physical exchange and intimacy. Of different origins and backgrounds, the group becomes a microcosm of contemporary society - dislocated, alienated, and desperately searching for meaning through a relationship with the Other.
Theresa Schwartzman/USA/2013/23 min
Three pairs of mothers and daughters reenact scenes from the classic Bette Davis Hollywood melodrama Now, Voyager, intercut with material from the original film. The result is a compelling study of familial bonds and the performative nature of intimacy. As lines are forgotten and roles break down it becomes increasingly difficult to separate the real from the theatrical.
Laida Lertxundi/Norway, Spain, USA/2013/8 min
Filmed in the town of Utskor in the northern region of Norway, Lertxundi’s characteristically sparse study of human interactions with landscape takes the form of beautifully observed domestic rituals captured during the midnight sun. Fragments of sound and music, voices and text, weave a subtle narrative into these suspended moments.
Strawberries in the Summertime
Jennifer Reeves/Canada, USA/2013/16 min
A small child takes us on a journey of discovery of all things large and small on and around a farm, reminding us of Stan Brakhage - the master of experimental film - and his concept of the “untutored eye”. The sensuous nature of innocent vision is expressed here through richly textured film images, hand-processed, solarized, and oscillating between negative and positive. Layers of intimacy and exchange develop between the child and his (filming) mother, the filmmaker and the viewer, and the child and the viewer.
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