

“Gjama” is a rarely practiced mourning ritual that was performed by Albanian men throughout the centuries. By shouting specific phrases and acting out a strict choreography, it is a way of paying respect to the deceased but also overcoming grief and pain over the loss of a loved one. Through the documentation of the re-enactment of the ritual, Zgjim Elshani seeks to recover fragments of the practice in the communities where this form of collective grieving is still a way of overcoming loss. By doing so, the project intends to rethink collective grieving and what it means to publicly display emotions in a male-headed society.
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“Gjama” is a rarely practiced mourning ritual that was performed by Albanian men throughout the centuries. By shouting specific phrases and acting out a strict choreography, it is a way of paying respect to the deceased but also overcoming grief and pain over the loss of a loved one. Through the documentation of the re-enactment of the ritual, Zgjim Elshani seeks to recover fragments of the practice in the communities where this form of collective grieving is still a way of overcoming loss. By doing so, the project intends to rethink collective grieving and what it means to publicly display emotions in a male-headed society.
2021-10-08
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6.5The events take place in a small Albanian village, around the '30ies. This isolated land, dominated by rituals and patriarchal relationships is the spirit that welcomes the newborn child of Abas. Servet, a co-villager, emigrant in the United States of America comes back in his homeland bringing a new vision and a new mentality, which serves as an inspiration for the 10 years old boy, Gjoleka, the son of Abas. Gjoleka founds himself in between of the ideas of his wild father, Abas and his illuminist godfather, Servet. Gjoleka symbolizes the young generation in the difficult realities that offer small and underdeveloped countries, where the outside world constitutes an irresistible attraction. The movie shows with a deep realism the human relationships, such as love, jalousie, hate, the impossibility to be integrated with another world, making this way a cruel autopsy of the weird society to which, "sometime" we belong.
Dad catches a ball badly, injuring his finger. His guttural scream instantly hushes the entire sports complex. Sarah is paralysed. She barely recognises him; red faced, clutching his hand and crying. In the sanctuary of the locker changing rooms, Sarah explores and tests theories about what has happened with her Dad. She questions who her father is while struggling to grasp the concept of pain, both inside and out. Having found an apparent conclusion, Sarah returns to an apologetic Dad, and decides to put his promises to the test.music:Annette Focksproducer:Tobias Rosen, Heike Wiehle-Timmproduction:Relevant Film, Warner Bros Entertainment Germanybacking:Deutscher Filmförderfonds (DFFF) (DE), Schleswig-Holstein Film Commission (DE), Filmförderungsanstalt (FFA)(DE)distributor:Warner Bros Entertainment Germany
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5.0A short mockumentary detailing the rise of intergenerational cosmetic theft through the eyes of an affected family.
6.7Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
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Pyramid is a single screen work on Abraham Maslow's theory on the hierarchy of human needs filmed through the rhythms and choreography of middle class South England. Filmed in color and b&w on 16mm film, it continues Salmon's interest in the performance of the artist/cinematographer within both spontaneous and constructed situations and incorporates methods developed by various movements within documentary and avant-garde history. Using an array of sounds, music and conversation as well as silence, Salmon constructs an abstract documentary which both develops and challenges the themes presented in Maslow's theory as well as her own interest in human iconography, stereotype and domestic rhythm. The image of Maslow's pyramid and his pragmatic dissection of human needs and possible motivations provide a system of organization for the family and a philosophical framework for the video.