Taipei, Taiwan
https://www.wmw.org.tw/en/film/unit/344
The program includes short films from Portugal, Poland, South Korea, Japan, Singapore, Brazil, China, Croatia, and the United States. From a lockdown love story, Gen Z manifesto against patriarchal norms, to a sharp social commentary on gender struggles. The length of the film demonstrates an attitude, from there extends a myriad of different universes.
Lynne Sachs hosts an interactive workshop: The Body in Space.
Cinema Program
Dildotectonics
Portugal|2023|DCP|color|15min
What’s softest in the world rushes and runs over what’s hardest in the world.
Singapore|2024|DCP|color|15min
My First Funeral
South Korea|2023|DCP|color|38min
Such Miracles Do Happen
Poland|2023|DCP|color|14min
VALERIJA
Croatia|2023|DCP|color|16min
Quebrante
Brazil|2024|DCP|color|23min
Contractions
USA|2024|DCP|color|13min
Postcards from the Verge
Poland|2023|DCP|color|40min
Those Who Loved Me
Japan|2024|DCP|color|15min
Myself When I Am Real
USA|2024|DCP|color|18min
A Message from the Co-Curator of the Festival
Thank you for your powerful work! It reminded me of how a work of art is really a dialogue with the contemporary and is a voice of resistance:
“The four shorts tonight shared unique perspectives on the relationships between women/human kind and the body, time, history, and even the universe.
Unlike some of Lynne’s other works, with fluid space and poetics, in Contractions, we are hit with testimonies, plain and clear, combined with a visual and audio experience just as direct, about the predicaments of women and the medical system in Tennessee since June 24, 2022.
I noticed that in the beginning of the film, there is deep breathing sound. Then we see an open sky so blue and suffocating, with the voices of women, about the restrictions on women’s rights, on their bodies, and on what they can imagine about their own lives.
Lynne’s works are very charismatic with her organic, empathetic, and breathing-like camera eye. In Contractions, the camera is static or moves very slowly. It has a sense of control and horror, but at the same time, the static shots become a steadfast and unwavering gaze; steadfast and unwavering, like those women that are “standing still” in the film, some alone, some leaning on each other.
I am truly touched by those strong women that continue to help each other despite the danger, and refuse to take it as it is. And it is strangely cathartic to hear the additional audio piece We Continue to Speak, knowing that we are all shaken with anger and we will continue to fight!
Thank you so much for the film.
Ting-Wu Cho
Co-curator
Women Make Waves Film Festival 2024
Taipei, Taiwan
