OTHER VIEWS | FEATURE

The Other Views of Short and Feature Films creats a dialog between just released films, unreleased movies, films that have already a national and international career in recent festivals and screenings. Who enters to watch Other Views films will always find a variety of styles, languages and approaches around urgent issues faced by the world today.

LUCIA’S HOME
/ A casa de Lucia
João Marcelo, Lucia Luz | Brazil, 2017, 70’, DCP, Documentary

Recently married, Lucia left Syria in a hurry with her husband’s family. Living in refuge in Brazil for two years, an unexpected trip takes Lucia to the Christmas reunion of her parents and siblings, who live in Kuwait. Through recordings made by herself, we come to know her story and the constant changes that affect her world.

ALIPATO – THE VERY BRIEF LIFE OF AN EMBER
/ Ang Napakaigsing Buhay Ng Alipato
Kahvn De La Cruz | Germany, 2016, 88’, DCP, Fiction

A gang of street kids steal and kill in the coal capital of Mondomanila. Tired of small crimes, they go in for the ultimate heist: robbing Central Bank. But the robbery goes awry, the money goes missing, and gang members are murdered one after the other.
Panic spreads amongst the surviving criminals and they begin to suspect that one of them is doing all the killing.

CONVICTIONS
/Ubezhdeniya
Tatyana Chistova | Russia, Poland, 2016, 63’, DCP, Documentary

How easy is it for a conscientious objector to refuse military service in today’s Russia? Although it is permitted by the constitution, a recruitment commission can reject the request. The film follows the efforts of four young men who are attempting to persuade the authorities and the commission about their motives for requesting civil service. One of them was even brought before a court accused of evading military service. The scenes captured in the film show an absurd system in which the humanistic speeches of young pacifists have little chance against the incomprehension and disdain of officialdom.

FROM A YEAR OF NON-EVENTS
/ Aus einem Jahr der Nichtereignisse
Ann Carolin Renninger, René Frölke | Germany, 2017, 83’, DCP, Documentary

A farmer in a film, but not a film about agriculture. “From a Year of Non-Events” is more the description of a very pragmatic stance toward life, in which obstructions exist to be overcome. While observing a year in the life of almost ninety year old Willi on his old farm in the very North of Germany a picture comes into being that confronts the persisting impressions of a life with the everyday commodities surrounding.

HEMA HEMA: SING ME A SONG WHILE I WAIT
Hema Hema: sing me a song while I wait
Khyentse Norbu Rimpoche | Bhutan, Hong-Kong, 2016, 96’, DCP, Ficção

Somewhere deep in a forest of Bhutan, there is a gathering every twelve years of men and women chosen by the Old Man to enjoy a few days of anonymity. Masked silhouettes participate in rituals, performances and dances. Faceless, the men and the women allow themselves to be lascivious, playful and daring. One man attends this event for the first time and enters the experience like a new born. He stumbles clumsily through the first days, but quickly adapts, and when he spots Red Wrathful, he becomes totally intoxicated with her. But his desire will lead him down a dangerous path.

FREE MAN
/ Homem livre
Alvaro Furloni | Brazil, 2017, 84’, DCP, Fiction

After spending years in prison for a crime that shocked the country, Hélio Lotte, a former rock star, finds refuge in a humble evangelical church. All he wants is to be forgotten, but his past comes back to haunt him. Caught between the growing hostility of the congregation and his own paranoia, Hélio senses that something bad is about to happen again.

MY BODY IS POLITICAL
/ Meu corpo é político
Alice Riff | Brazil, 2017, 72’, DCP, Documentary

“My Body is Political” talks about the everyday life of four transgender people who live in poor neighborhoods in São Paulo. The narrative is developed with a mix of their intimate lives and broader social context, raising questions about the brazilian transgender community and their political disputes.

OVERNIGHT FLIES
/ Overnight flies
Georg Tiller | Austria, Sweden, 2016, 98’, DCP, Fiction

Eddie, a 65-year-old Sudanese man, seems to have been living for countless days on a remote stone-covered Swedish island. Surrounded by screaming birds and carrying a silent past, Eddie wanders around in nature, recollecting moments with a broken video camera. Accompanied by Jan, a ghostly hermit living deep in the forest, Eddie penetrates an otherwise hostile environment that is oblivious to his isolation. Despite his circumstances, Eddie looks for the miraculous in the overlooked present time.

THE SCOPE OF SEPARATION
/ 离散的范畴
Yue Chen | China, 2017, 71’, DCP, Fiction

Shidong is a young man set adrift after his father’s death. He meets Yuzi, a melancholy girl who pursues him, but he spurns her. Soon, he meets a bright girl Yao Ye; they live together for a month, then go their separate ways. Having known love, Shidong goes into business and tries to make his way in the adult world. By the time he meets up with Yuzi again, time has altered their feelings and he has learned a new way to deal with life.

AUTUMN, AUTUMN
/ Chun-cheon, Chun-cheon
Jang Woojin | South Korea, 2016, 77’, DCP, Fiction

Ji-hyun attends an interview in Seoul before taking a train back to his hometown of Chuncheon. On the way he sits next to a middle-aged couple. Ji-hyun, dreaming of getting a job in Seoul, falls into despair after failing his interview. With friend, Ji-hyun head aimlessly to Cheongpyeongsa Temple, but he misses the last ride back home and decides to stay the night. The middle-aged couple also head towards Cheongpyeongsa Temple. They open up to each other by recalling memories of their first loves.

A YANGTZE LANDSCAPE
/ Changjiang
Xu Xin | China, 2017, 156’, DCP, Hybrid

This documentary uses the “Yangtze” as a metaphor of the current chaos in China. The documentary utilizes a non-narrative style, setting off from the Yangtze’s marine port Shanghai, filming all the way to the river’s source, Qinghai/Tibet. Experimental music and noise recorded live on scene were used, paired with relatively independent visuals, creating a magically realistic atmosphere contrasted with people seeming to be “decorative figures” right out of traditional Chinese landscape scrolls. After watching the whole film, you realize that it’s a dead Yangtze.