In Ghosts & Apparitions, history and memory are materialized through the reflection on filmic language – an old question of human kind is ‘how can we make visible what is invisible, sometimes only somatic, sometimes a faded memory, sometimes just a dream’? How can cinema be the materialization of what cannot find its definite formulation?

In our programme, transitional processes are present and relevant: from forgetfulness to remembrance, from the past into our present, from the individual into the collective realms. Architecture and political iterations of space and human existence in Concrete Forms of Existence, This Means More or The Kiosk; memories and the materialization of stories and events that became ghosts in The Tunnel, Deep Waters, Me and the Cult Leader / Aganai, They Whisper But Sometimes Scream, Truth or Consequences, The Metamorphosis of Birds, Santikhiri Sonata; love and death as two drives one same movement in Mon Amour, Point and Line in Plane, Dying Under Your Eyes.

Work, in its relation to the passage of time and the mourning of a known order of things – the transformation of the working class with the shift into a tertiary economy, is transversal to the whole programme and here finds in a community of miners in Spain an eloquent essay and reflection, in Work Or To Whom Does The World Belong, or in another context - a lost Russia hijacked by global resource exploitation in Karabash.

Ghosts & Apparitions is also about experimenting with the cinematic forms and narratives, and our programme presents an eclectic , surprising group of films that question what documentary can be and build upon a wider vision of its tradition and norms. Frem takes us into a voyage outside the anthropocentric perspective over landscape and nature, using technology to build a true epic about loss, loneliness and the capacity for regeneration, and Everything That Is Forgotten in an Instant builds an intricate passionate journey between words, translations, and political landscapes and transformations.

Ascending Ballard Down collates materials of a different nature into a poetic reflection on art and landscape, and A New England Document brings together a critique of the colonialist tradition of ethnography and the art of collecting and treating documents and proofs. On A Clear Day You Can See The Revolution From Here explodes the official discourses on a country’s context and history, through personal voices and a disruptive cinematic time.
Yamīhex: Spirit-Women exists within the tradition of indigenous Brazilian cinema, where the documentation of culture and gestures lives aside the materialization of myths and visions, building a strongly aesthetical and poignant portrait of a specific relation to community, history and gender.

We are presenting an online focus on some of the films by Lynne Sachs, whose latest film will be screened in Into The World, in October. This online focus was built around the notion of translation, as a process of transformation, transmission, clarification and construction of meaning. With films from different moments of Sachs’ career, we put our focus in five films that bring a series of fundamental topics on her work: encountering the other, living with
history, finding a common ground for coexistence, and cinema as a matter of ghosts but also of flesh and blood – a lively matter that brings clarity and proximity.