The confessions of a woman who took flight. 6th Independent Vídeo & Interactive Phenomena Show

Sandra Staffl visits two young women from Abu Dhabi. Raweya and Fatima study film production in order to become independent and determine their own future lives. They proudly wear traditional clothing, which they perceive as a privilege.

Observatory Archives 1999

/ CONTEXT 1994 - 2020

Observatory Archives 1999

The theme of OVNI 1999 is the journey that goes from the social to the private and vice versa, with the understanding that they are part of the same continuous fabric. Memory/Collective Fiction. Dreams/Personal Memories. Standards and archetypes and individual irreducibility. Media paranoia and stories of schizophrenia. Social passions and love stories. The “American dream”, the “European dream”. Temporary Autonomous Zones and Other Worlds.

Thematical screenings

Hall and Auditorium.  Simultaneous Screenings

Centre de Cultura Contemporània de Barcelona

Montalegre 5. 08001 Barcelona

“The following is a true fact about American feminism: Courtney Love’s mother was Katherine Power’s therapist. GOOD SISTER/BAD SISTER is about fugitivism. Therapy. Rock and roll. FBI harassment of lesbians. The legacy and memory of radical feminism. Lipstick. Violence. Surrender. Bank-robbing. Generational politics. History. Through documentary technique, such as talking-head interviews and dramatic re-creations, Johnson connects notorious baby-doll grunge rocker Courtney Love with Katherine Power, a sixties activist and fugitive of the FBI for 23 years. Through the link of Linda Carroll, who is coincidentally both Love’s estranged mother and Power’s therapist, Johnson creates a multi-layered dialogue between the women that exemplifies and comments on female transgression within the public arena. When feminism is still the dirty F word of the Nineties, how do women fight American disorder without just being bad girls in a male-defined world' [...] Just because the sixties was a mind fuck, does it mean that we can never ask Utopian questions again?” – Berlin Film Festival 1997

Conversations between house maids in Mexico City.

Hay mish Eishi, features portraits of 8 Palestinian women from different social and religious backgrounds exploring how they live war and imagine peace in the profound depth of lived realities and felt pains. These are not unusual women, women leaders or exceptional women in the news media sense. They are media and theatre professionals, farming women, a cleaning woman, a boutique owner, a university student, a high school teenage girl, and housewives. These are the ordinary lives which make up the news and which the news makes invisible. They speak with passion, bewilderment, anger, rage and outrage?.they situate themselves in a life of dignity and productivity, where their lives and actions are not reduced to a bundle of fear.They speak of profound losses - of self and direction, livelihood, land, homes and family members. What they say so powerfully and directly through their hopes and wishes is that they want a life of meaning, of sharing, of giving, of routines and rituals, of loving and caring, of ordinariness with all its blessings and grace.They do not want the degrading, terrorizing drama of war

In Home Stories, probably Matthias Müller's best-known work, the author takes parallel sequences (with a single motif) from different classic Hollywood films to parody the obsessive atmosphere of the thriller.