STILL LIFE, 20TH C. (12', Romania, 2012)

 

At the border between fiction and documentary, the latest work signed by the Romanian visual artist CĂLIN DAN relies on the autobiographical inquiry. The memories of a woman imprisoned without a trial on political grounds by the Romanian communist regime in 1948 intersect with the recollections of a little boy preparing the table for lunch at his grandmother’s place in 1965. Apparently a description of how life unfolded in the communist Eastern Europe, the video refers to multiple layers of 20th century history and involves ideological confusion, guilt, oppression and trauma altered memory.

Director: CĂLIN DAN

 

Cast: NICOLIȚA GHEORGHE, ANASTASIA HUGEANU, MEDEEA MIȘCOV, MARIUS BĂLOIU, CĂLIN DAN

Screenplay: CĂLIN DAN

Cinematography: GEORGE DĂSCĂLESCU

Editing: LARISA SITAR

Sound: MATZE

Producer: GEORGE NICULESCU

Production: HAND MILKED VISIONS



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CĂLIN DAN

adsl487504[at]telfort[dot]nl

 

 

Author of experimental films inspired from extreme cases of modernist architecture, with a stylistical language allways in metamorphosis, CĂLIN DAN has participated at renowed visual art venues (Manifesta, the biennales of Venice, São Paolo, Istanbul, Berlin, Praga, Sydney) and at important experimental film festivals (Osnabrück, Oberhausen, Rotterdam, La Rochelle). He combines artistic creation with research activity, as guest of art universities from Utrecht, Budapest, Melbourne and Bucharest. Consultant of Holland’s national visual arts committee and having a background in art criticism, he is currently living in Amsterdam and Bucharest. Selective filmography: Anturaju’ and Other Stories (2010), Short history of late capitalism (2010), WINGS FOR DOGS (2009), Pas (de deux) (2005), Sample City (2003).

 

"The film gravitates around childhood memories about my grandmother and around her life story as I heard it then, but also later, as a young man. The content was facilitated by the recent opening of the Romanian secret services’ archives to public access. Since my grandmother has been imprisoned during the Stalinist terror following WW2, I was able to research now her file history, with some surprising results. The complete story of my grandmother’s ordeal has never been told in the family. To this day, her daughter (my mother) is in denial and considers a part of her story a fabrication. The film is a documentary in the sense that it records personal recollections from a childhood spent under the protection of my grandmother, a brave, hard working, courageous person, whose life came to a still under the pressure of political circumstances. It is also a fiction because it conveys a story that goes beyond an individual case towards a more general significance. Most of all, I consider Still life, 20th c. a product of the powerful instrument of the Archive, which can sometimes protect us from the mistakes generated through oblivion." (CĂLIN DAN)

 

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