May 2013, arsenal cinema

Point of View

REMANESCENTES (AT), 2013

Raphaël Grisey's video works often concern the visible and invisible histories of different places. This entails him engaging with places and terrains that often seem more or less alien to him to begin with, granting both them and himself sufficient time to find a story and a cinematic form. His longer works are usually created in collaboration with the people who live in the places in question or who know their stories. Elements of oral remembrance cultures are linked to vigilant camera work, which seems to embody a belief in visual memory and the silent language of things and surfaces. Grisey’s work also deals with the equivalence of different narratives even when they are conflict with one another and about exchanges of perspectives, which are never quite without danger, as the title of one his most recent works suggests: "The exchange of perspectives is a dangerous game" (2011).

Raphaël Grisey’s most recent work has focused on Brazil. He will be presenting two of the works created there at Der Standpunkt der Aufnahme on May 8: A MÃE (Brazil, Germany 2012) is a cinematic portrait of the largest food distribution terminal in South America, the São Paolo central market. It brings together accounts of the people that earn their living there and the gestures of work: dividing up, sorting, cutting, loading, carrying and waiting. Afterwards, Grisey will be presenting his current project REMANESCENTES (working title) as a work-in-progress for discussion. This project concerns the "quilombos", Afro-Brazilian communities which originally emerged as a result of resistance against slavery. Since 1988, the Brazilian constitution has granted the "quilombos" the collective right of restitution. Yet what makes a community into a quilombo today? In the fight against land robbery and state repression, an increasing number of muncipalities and districts are discovering their often well-buried Afro-Brazilian history anew. For his "carte blanche" selection, Grisey is showing two films from the Arsenal archive that deal with the severe land conflicts in northeast Brazil in the 1960s: Paulo Rufino’s experimental short LAVRA DOR (Brazil 1968) and CABRA MARCADO PARA MORRER (Brazil 1984), Eduardo Coutinho's attempt to finish shooting a film 20 years after he was unable to complete it in 1964 due to the military putsch. This often quixotically minded project brings to light the breaks and continuities in a story of resistance.

arsenal cinema:

07:00 pm Cinema 1


Regina – Work in Progress

The Portrait of David

Regina – Work in Progress Diana Groó Hungary 2013
DigiBeta OV/GeS 66 min
The Portrait of David Tanja Grinberg USA 2013
Blu-ray OV/EnS 30 min

Diana Groó in person, moderated by Sabine Porn
Tanja Grinberg in person
arsenal cinema: Point of View

07:15 pm Cinema 2


A mãe

Remanescentes (Arbeitstitel)

A mãe Raphaël Grisey Brazil/Germany 2012
HD OV/EnS 39 min
Remanescentes (working title) Raphaël Grisey Brazil/Germany 2013
Presentation of a "work in progress"
HD OV/EnS approx. 45 min

Raphaël Grisey in person
arsenal cinema: The 19th Berlin and Potsdam Jewish Film Festival

09:00 pm Cinema 1


Hunting Time

My Kosher Shifts

Hunting Time Eran Barak Israel 2012
DigiBeta OV/EnS 53 min
Showing first: My Kosher Shifts Iris Zaki UK 2011
DigiBeta OV/EnS 22 min

Eran Barak in person
arsenal cinema: Point of View

09:15 pm Cinema 2


Lavra dor

Cabra marcado para morrer

Lavra dor Paulo Rufino Brazil 1968
35 mm OV/EnS 10 min
Cabra marcado para morrer
Eduardo Coutinho Brazil 1984
35 mm OV/GeS 119 min

Raphaël Grisey in person