Sunday February 17, 2008, 7:00 pm
At the Spielberg Theatre at the Egyptian
Los Angeles Filmforum presents
This Must Be The Place – Four films on migration, belonging, & temporary homes
Meditations on itinerant lifestyles, immigration, travel and memory,
filmed in places as disparate as Bangalore, India; Queens NY; and Valencia, CA.
The Garden City by Vera Brunner-Sung (2007, 16mm, 13:30 min, shot in Bangalore, India, and Valencia, CA)
Recordando el Ayer by Alexandra Cuesta (2007, 16mm, 10 min, shot in Queens NY)
Footnotes to A House of Love by Laida Lertxundi (2007, 16mm, 13 min., shot in the California desert)
Lay Down Tracks by Brigid McCaffrey and Danielle Lombardi (2006, 16mm, 61 min, shot in America, Bolivia, Sri Lanka, and Morocco)
All the films are on 16mm. TRT about 95min.
To what extent can we control the lived environment, and how does this impact our lives? A letter recounts a journey from American suburbia to a foreign city, becoming a meditation on growth and development that suggests all landscapes are human. – Vera Brunner-Sung
Memory and identity are observed through textures of everyday life in a portrait of Jackson Heights, home to a large Latin American immigrant population. Images of street, people, and daily rituals render passing of time in a neighborhood that becomes a mirror not just of another place, but also of the past. The landscape visually reflects the space as a creation of a new home while revealing displacement within the new condition. The meaning of home is explored and built upon collective recollection.
Alexandra Cuesta is an experimental filmmaker and photographer born in Quito, Ecuador. She taught photography at Universidad San Francisco de Quito and was involved with the community as an independent curator and artist for art exhibitions in appropriated spaces. She participated in various film projects (From Beirut With Love, Paradise, Crossings) that have taken her to Cuba, France, Lebanon, Israel, Palestine and Mexico. She currently resides in Los Angeles, California where she is pursuing an MFA in Film/ Video at the California Institute of the Arts. Recordando el Ayer has shown at the New York Film Festival, Viennale Film Festival, Onion City Film Festival, among others.
A series of shots in a California desert landscape and an abandoned house in which there is a play between on frame and off frame sound. There is an effort to create the space of a story, without a story, by the use of real time/diegetic sound. The film is laboriously honouring play. Love is felt as a force that remains almost off the frame and determines the arrangement of the figures in the landscape. Recently screened at the New York Film Festival Views from the Avant-Garde
“The desert, so often a stand-in for other places imagined by Hollywood, here is barren and bright, set to the tune of Leslie Gore and the Kinks playing through an intrepid little tape deck…The music plays in most of the film like a radio signal, a relic of another time, now gone. The film is pervaded with the sense of something having happened, though we’re given only brief glimpses of what came after.” — Genevieve Yue, Senses of Cinema
“Laida Lertxundi’s Footnotes to a House of Love is the type of thing you hope for at a festival: something remarkable by someone you’ve never heard of. Not much happens in the film – much to its credit. A young couple inhabits a dilapidated house in the California desert. They read, play the cello, piss, but mostly just walk about. Their actions, however, are entirely peripheral to the film. Footnotes is most centrally about the presence of place, the house and the desert beyond, and the possibilities they seem to invite. Narratives and relationships are only just hinted at and seemingly swallowed up by the surroundings. There is a subtle mysteriousness to the place that could easily have made it a site for terror, or at least danger, but this is constantly leavened by a gentle, disarming playfulness and teasing.” — Patrick Friel, Senses of Cinema
This 16mm film closely follows five American workers who have based their lives around traveling. It journeys through the shifting surroundings of a retired carnival worker, young woman trucker, railroad executive, chimney sweep/surfer, and a nun/riverboat pilot. While they reflect on their work and the worlds they traverse, the camera takes in both what is fleeting and familiar. Interweaving these personal narratives from diverging factions of transient work culture, the tenuous relationship between aspirations and necessities is considered.