This section may seem unusual in the program of a human rights festival, as its films are not, or not directly, related to the central theme—at a first glance. However, when viewed in a broader context, creative life has always been intertwined with social criticism; existing in the world as an artist, observing, analyzing, and reflecting on our surroundings while seeking the forms of self-expression is almost impossible without some critical notion. The films in this section approach the dilemmas and challenges of creative existence from different angles, complementing each other.
Love-22-Love and Days of Wonder present the difficulties of being an artist from personal perspectives. Can someone who has been creating art their entire life but whose work has never been seen by anyone be considered an artist? In her film, Finnish director Karin Pennanen attempts processing her cousin’s astonishing legacy; faced with a mass of paintings, writings, audio cassettes, and video diaries, she recognizes her uncle’s talent, humor, and tragedy, while also reflecting on her own artistic and maternal dilemmas. The director of Love-22-Love, meanwhile, retrieves his own VHS and Hi8 tapes to confront the seemingly irreconcilable conflict between depression, a self-destructive lifestyle, and family expectations.
The section's two other films use more traditional cinematic techniques, but employ similarly enchanting archival material and creative approaches to explore the challenges faced by female artists. The charismatic personality and genuine creative attitude of legendary performer and sound artist Meredith Monk, as well as the vibrant world of the New York underground scene, unfold through a mix of archival footage, interviews, and contemporary images.
The Long Road to the Director’s Chair opens a time capsule from 1973; the Norwegian director reuses her own footage shot at the first Berlin women’s film meeting. The beautiful black-and-white images, without commentary or contemporary interviews, allow the viewer to enter an event characterized by a euphoric atmosphere simply because women could finally talk freely among themselves about what it means to work as a woman in the film industry.
