Faire entendre les histoires qui demandent à être racontées En quatre films, Umbilical Cord to Heaven (2021), Hilum (2021), The Headhunter’s Daughter (2022) et Vox Humana (2024), Don Josephus Raphael Eblahan a su imposer un style (…)
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London audiences were able to watch the film at our screening at the Garden Cinema on 25 April, which was followed by a Q&A with the directors, hosted by journalist Steve Topple. See pictures below and a link to the post-screening Q&A (…)
More »In Lausanne, a group of twenty-something women and queer persons start directing ethical and dissident pornographic films: the OIL Productions collective is born. Committed to an artistic and political approach, they create adult films aiming to (…)
More »Set in a small Ghanaian town at the edge of a large landfill site that spills into the ocean, the sons of a fisherman, Sowah and Okai, struggle to cope with loss of their eldest brother who drowned during a fishing expedition. Haunted by his (…)
More »Normal is an experimental, non-fiction work, a series of observational vignettes displaying mundane actions carried out by men and women in Italy. Mum and baby fitness classes, hen dos, multiplayer video game sessions, performances of the rites (…)
More »Naila and the Uprising was a DocHouse screening. It’s rare that a film makes me so angry that I can’t seem to describe it without a rant summarising it as ‘o the injustice!’ but that really was the effect of Julia Bacha’s film. Opening scene: (…)
More »Interview avec Clarisse Hahn, réalisatrice de Mescaline, en compétition nationale au Festival de Clermont-Ferrand 2018. Le court du jour : "Mescaline" de Clarisse Hahn from ClermontFd Short Film Festival on Vimeo. Si vous voulez en (…)
En savoir plus »All this week, we’re working directly with the Brasserie to select and highlight 9 coups de coeur films from the Labo, International and National Competitions at the Clermont-Ferrand International Short Film Festival. We’ll also be filming (…)
More »DeKalb Elementary On comprend qu’il ait gagné le grand prix de la compétition internationale, tant ce film puissant et inattendu reste en mémoire après la projection. Un plan fixe sur le bureau d’accueil d’une école primaire. Nous sommes aux (…)
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I gather your background is a mix of Liverpool and California? How have both environments influenced you and your work on Native? (And does Liverpool produce better alien beaches than LA?) In my experience Los Angeles and Liverpool are (…)
More »[1] L’archipel philippin a résisté pendant plus de trois siècles à l’occupation espagnole, et a par la suite cédé à l’influence de l’occupation américaine. Les Espagnols ont cédé les Philippines pour 20 millions de dollars aux Américains en 1898.
[2] “Being in the West has held up a mirror towards myself, perhaps instigating a reason to be more inquisitive about my own identity, the history of the land/or islands I grew up in, and the interpersonal and spiritual voices that call for their stories to be told.” Propos recueillis par Jason Tan Liwag pour Rappler. Interview disponible ici : https://www.rappler.com/entertainment/movies/interview-don-eblahan-director-the-headhunters-daughter/
[3] « The intersection between Indigenous identities and TV hasn’t always been the friendliest (even Philippine TV) — from caricatured portrayals to insensitive remarks about our culture. » Propos recueillis par Jason Tan Liwag pour Rappler. Interview disponible ici : https://www.rappler.com/entertainment/movies/interview-don-eblahan-director-the-headhunters-daughter/. »
[4] “The fact that Lynn is questioned so directly on screen draws attention to our media’s tendency to sensationalize otherness, tragedy, sentimentality, and misery in the lives of Indigenous Filipinos. I wanted to give my protagonist a different response and perspective to this cyclical trend. Lynn’s choice to approach her audition in that way reveals a hidden resilience that, I believe, was necessary in that situation.” Propos recueillis par Élise Loiseau. https://clermont-filmfest.org/the-headhunters-daughter/
[5] “ I wanted this historical context to be introduced from the very beginning, even before any visuals are seen. To linger around this context before the film emerges from the black screen sets a precedent that urges participation with the audience to listen closer and perhaps situate themselves in a historical and sociological headspace before we introduce any direct narrative “ https://www.rappler.com/entertainment/movies/interview-don-eblahan-director-the-headhunters-daughter/
[6] “Indigenous films made by indigenous people can look like a crime thriller, Western, sci-fi film,” he continues. “We have complex stories as well that we’re dealing with in the modern world. We’re not just savages or victims of colonization—we’re here, and we can look cool in a trench coat as well.” Propos recueillis par Christian Cabrera pour Techbuzznews. Interview disponible ici : https://www.techbuzznews.com/sundance-film-festival-2025-vox-humana/
[7] “Hilum is a Filipino word that translates differently in two dialects. In Cebuano it means “to render silence”, in Tagalog it means to “heal an open wound”. The connection of both meanings is the important binding force of the film.” Don Rafael Josephus Eblahan, https://www.kickstarter.com/projects/don-eblahan/hilum-a-short-film?lang=zh
[8] “We wanted to make a film about the language of listening: to the earth, to the people, and even non-human creatures. Through sound, I wanted to interrogate the concept of “non-human” particularly in the lens of how such meaning can be weaponized against marginalized people whose lands and rights are usually taken away.” https://www.rappler.com/entertainment/movies/vox-humana-don-eblahan-interview-toronto-international-film-fest-2024/