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Shorts Programme: Thinking Around and Outside
Institute of Contemporary Arts
Vision of Paradise (Visão de Paradíso), dir. Leonardo Pirondi, Brazil / USA 2022, 16 min., Portuguese & English with English subtitles


How do we relate to the imperceptible? Each of these five films questions the authoritative position of the human mind regarding external worlds. The notion of a single dominant viewpoint seems to dissolve and instead we are guided by the logic of myth, metamorphosis, birdsong, analogue film and the vastness of the ocean.
I’ll Be Back
Dir. Hope Strickland, UK 2022, 11 min., English
Existing at the convergence of history and myth, the Haitian maroon leader François Mackandal returns to disrupt the colonial logic of the archive.

Chuu Chuu
Dir. Mackie Mallison, USA 2022. 15 min., Japanese & English with English subtitles
Taking its title from the Japanese onomatopoeia for bird sound, this is a lyrical, dream-like portrait of the filmmaker’s grandmother and her deep connection with avian beings.

Downstream
Dir. Adam Kossoff, UK 2022, 33 min., no dialogue
We follow the constantly shifting Thames downstream, in all its infinite richness, acknowledging how human intervention has shaped it, but also how the river continues to influence the lives of those who live around it, from source to mouth.

Vision of Paradise (Visão de Paradíso)
Dir. Leonardo Pirondi, Brazil / USA 2022, 16 min., Portuguese & English with English subtitles
Taking the search for the mythical island of Hy-Brazil as its starting point, this contemplative work probes the polymorphous nature of the real and its relation to the imaginary.

The Ocean Analog (El oceano analogo)
Dir. Luis Macias, Spain / Mexico 2022, 10 min., no dialogue
An eerie, experiential piece contesting the notion of knowable, inspired by Mesoamerican creation myths and René Daumal’s 1952 novel Mount Analogue.

Sappukei
Dirs. Chun Wang & Hikky Chen, Taiwan 2022, 18 min., Japanese with English subtitles
Filmed on the streets of Saigon, where the unplanned disappearance of the human subject disrupts the flow of linear time and grants the filmmakers access to that which was previously unperceivable.
 
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