S4.E2 ∙ Elisabeth von Thüringen

A docu-fiction taking place in Buenos Aires, Argentina, where Franco-Argentinean director and actress Susana Lastreto was born.

I am looking at you You are looking at me I am looking at you looking at me I am looking at you looking at me looking∞ In Hong Kong, I always feel that we are being monitored by SOMEONE, by plenty of 'Sky Eye', by Paparazzi, by Youtubers, by The Authorities, by self-censorship...etc. In the future, Can we keep on searching and questioning the 'Truth', showing crave and expressing our vision to the world? Using the CCTV system as a metaphor, to present an attitude - Who is afraid of...? Magnifying our daily life fantasies, reversing our passive situation of being monitored, being initiative to create arts, opening up space for the 'Closed Circuit'... It's time to step out of the box, 'Throw Away Your Books, Rally in the Streets'! Getting to know our city, to speak out, hoping to make Real Changes.

Yoshimasu launched Kaibutsu-kun soon after the March 2011 disaster in Japan.The complex catastrophes of the earthquake,tsunami,and the accident in the Fukushima nuclear power plant caused more than 20,000 deaths and forced the evacuation of 280,000 people from the affected area.Yoshimasu embarked on the project out of a deep sense of sympathy and commitment,in pursuit of 'poetry possible after March 2011'.He started scribing lines and letters on exceptionally large manuscript paper that he handcrafted every day.Yoshimasu devotedly prepared the materials,his groundwork,and ran a pen across them day after day,'as though tattooing'on his mind. Yoshimasu asked to make a film Takashi Ishida(Artist) and Yoi Suzuki(Film maker). It was not poetry book but a film.

Seven years late. An inhospitable place, immersed into the sand of marshes and surrounded by the light murmur of the forest, there is a whole village swearing every day, devoting itself to the sole aim of protect, watch over and worship the statue of a virgin beginning and end of their lives. The Dark Side, tries to show the terrible mix of feelings and passions around this particular relationship forged generation after generation.

A woman of Turkish ascent, following ancient Anatolian healing rites, dreams her way through fragments of memory, both personal and collective. Guided by a mythological character, Kheiron the Centaur, she travels freely between the ruins of an ancient Roman hospital and the streets of a mountain village, high above the river Euphrates. Time and space become dislocated, opening up passages between worlds. An inner experience translated into a film poem, KAZARKEN explores memory as a place of struggle against oblivion and the violence of hidden history.