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21–25 January 2019, Series of screenings to mark Refugee Week. Film and Screen Media Auditorium, Kane Building basement B10.B
16 Jan 2019
Between 21–25 January 2019, The Department of Film and Screen Media will host a series of screenings to mark Refugee Week. All screenings will be introduced and take place in the Film and Screen Media Auditorium, Kane Building B10B (Basement).
Please note that the screening of The Great Wall will be followed by a Q&A session with the director, Tadhg O’Sullivan.
Monday 21 Jan, 3 p.m.
I FOR INDIA (Sandhya Suri, 2005, 70 min)
Introduced by Dr Ciara Chambers, Film and Screen Media
"A movie that's both deeply personal and surprisingly universal" (Jeanette Catsoulis, The New York Times), I for India charts one family’s migration from India to the United Kingdom. Through home movie footage and audio tapes exchanged between relatives instead of letters, director Sandya Suri presents an achingly nostalgic portrait of migration, family separation and an ongoing quest for belonging and personal happiness. "Rarely has 'home-movie' material been used in such a clever yet moving way. I for India reminds us all that there are real people behind the terms 'immigrant' and 'alien.' It's a must-see for everyone” (Eric Monder, Film Journal International).
Tuesday 22 Jan, 3 p.m.
THE DESTRUCTION OF MEMORY (Tim Slade, 2016, 81 min)
"A movie that's both deeply personal and surprisingly universal" (Jeanette Catsoulis, The New York Times), I for India charts one family’s migration from India to the United Kingdom. Through home movie footage and audio tapes exchanged between relatives instead of letters, director Sandya Suri presents an achingly nostalgic portrait of migration, family separation and an ongoing quest for belonging and personal happiness. "Rarely has 'home-movie' material been used in such a clever yet moving way. I for India reminds us all that there are real people behind the terms 'immigrant' and 'alien.' It's a must-see for everyone” (Eric Monder, Film Journal International).
Tuesday 22 Jan, 3 p.m.
THE DESTRUCTION OF MEMORY (Tim Slade, 2016, 81 min)
Presented by the UCC Centre for Criminal Justice and Human Rights (CCJHR)
Over the past century, cultural destruction has wrought catastrophic results across the globe. This war against culture is not over - it's been steadily increasing. In Syria and Iraq, the ‘cradle of civilization’, millennia of culture are being destroyed. The push to protect, salvage and rebuild has moved in step with the destruction. Based on the book of the same name by Robert Bevan, The Destruction of Memory tells the whole story – looking not just at the ongoing actions of Daesh (ISIS) and at other contemporary situations, but revealing the decisions of the past that allowed the issue to remain hidden in the shadows for so many years.
Wednesday 23 Jan, 4 p.m.
THOSE WHO JUMP / LES SAUTEURS (Abou Bakar Sidibé, Moritz Sibert, and Estephan Wagner, 2016, 80 min)
Over the past century, cultural destruction has wrought catastrophic results across the globe. This war against culture is not over - it's been steadily increasing. In Syria and Iraq, the ‘cradle of civilization’, millennia of culture are being destroyed. The push to protect, salvage and rebuild has moved in step with the destruction. Based on the book of the same name by Robert Bevan, The Destruction of Memory tells the whole story – looking not just at the ongoing actions of Daesh (ISIS) and at other contemporary situations, but revealing the decisions of the past that allowed the issue to remain hidden in the shadows for so many years.
Wednesday 23 Jan, 4 p.m.
THOSE WHO JUMP / LES SAUTEURS (Abou Bakar Sidibé, Moritz Sibert, and Estephan Wagner, 2016, 80 min)
Introduced by Prof. Laura Rascaroli, Film and Screen Media
In northern Morocco lies the Spanish enclave of Melilla: Europe on African Land. On the mountain above, live over a thousand hopeful African migrants, watching the fence separating Morocco and Spain. Abou from Mali is one of them – the protagonist in front of the camera, as well as the person behind it. For over a year, he has ceaselessly attempted to jump the fence. "A masterpiece of empathy and moral imagination" (Joshua Oppenheimer, director, The Act of Killing and The Look of Silence).
Thursday 24 Jan, 4 p.m.
THE GREAT WALL (Tadhg O’Sullivan, 2017, 72 min)
In northern Morocco lies the Spanish enclave of Melilla: Europe on African Land. On the mountain above, live over a thousand hopeful African migrants, watching the fence separating Morocco and Spain. Abou from Mali is one of them – the protagonist in front of the camera, as well as the person behind it. For over a year, he has ceaselessly attempted to jump the fence. "A masterpiece of empathy and moral imagination" (Joshua Oppenheimer, director, The Act of Killing and The Look of Silence).
Thursday 24 Jan, 4 p.m.
THE GREAT WALL (Tadhg O’Sullivan, 2017, 72 min)
Introduced by Laura Rascaroli, followed by a Q&A with the film’s director, Tadhg O’Sullivan
"The Great Wall has been completed at its most southerly point." So begins Kafka’s short story 'At the Building of the Great Wall of China', and so, at Europe’s heavily militarised south-eastern frontier, begins this film. Moving inward toward the seat of power, the film holds the European project up to a dazzling cinematic light, refracted through Kafka’s mysterious text; ultimately questioning the nature of power. “At its best… potent and searing” (Nick Bradshaw, Sight & Sound).
Friday 25 Jan, 3 p.m.
HUMAN FLOW (Ai Weiwei, 2017, 140 min)
"The Great Wall has been completed at its most southerly point." So begins Kafka’s short story 'At the Building of the Great Wall of China', and so, at Europe’s heavily militarised south-eastern frontier, begins this film. Moving inward toward the seat of power, the film holds the European project up to a dazzling cinematic light, refracted through Kafka’s mysterious text; ultimately questioning the nature of power. “At its best… potent and searing” (Nick Bradshaw, Sight & Sound).
Friday 25 Jan, 3 p.m.
HUMAN FLOW (Ai Weiwei, 2017, 140 min)
Introduced by Laura Rascaroli
Captured over the course of an eventful year in 23 countries, Human Flow, an epic film journey led by the internationally renowned artist Ai Weiwei, follows a chain of urgent human stories that stretches across the globe in countries including Afghanistan, Bangladesh, France, Greece, Germany, Iraq, Israel, Italy, Kenya, Mexico, and Turkey. This visceral work of cinema is a testament to the unassailable human spirit and poses one of the questions that will define this century: Will our global society emerge from fear, isolation, and self-interest and choose a path of openness, freedom, and respect for humanity? “ Human Flow is an epic portrait of mass migration that understands how a lack of empathy often stems from a failure of imagination” (David Ehrlich, IndieWire).
Captured over the course of an eventful year in 23 countries, Human Flow, an epic film journey led by the internationally renowned artist Ai Weiwei, follows a chain of urgent human stories that stretches across the globe in countries including Afghanistan, Bangladesh, France, Greece, Germany, Iraq, Israel, Italy, Kenya, Mexico, and Turkey. This visceral work of cinema is a testament to the unassailable human spirit and poses one of the questions that will define this century: Will our global society emerge from fear, isolation, and self-interest and choose a path of openness, freedom, and respect for humanity? “ Human Flow is an epic portrait of mass migration that understands how a lack of empathy often stems from a failure of imagination” (David Ehrlich, IndieWire).