Rehana Zaman
Rehana Zaman is an artist from Heckmondwike based in London. Her work speaks to the entanglement of personal experience and social life, where moments of intimacy are framed against cultural orthodoxies and state coercion. Conversation and cooperative methods sit at the heart of her practice.
She has exhibited widely in the UK and Internationally. Presentations include British Art Show 9 (Touring), Trinity Square Video, Toronto (Solo), Borås International Sculpture Biennial (Sweden), Berwick Film & Media Arts Festival; Artist Film International Whitechapel, London, Dhaka Art Summit, Bangladesh, Bergen Kunsthall, Norway; Kochi-Muziris Biennale 2018; Sheffield Doc/Fest; Oberhausen Film Festival and Serpentine Projects, London, (forthcoming 2022). In 2019 she co-edited Tongues with Taylor Le Melle, published by PSS and was shortlisted for the Film London Jarman Award. She is currently a board member of not/nowhere artist workers cooperative and LUX who also distribute her films.
Zaman’s film How Does an Invisible Boy Disappear was screened in collaboration with Liverpool Black Women Filmmakers at BFMAF 2018, and her short film 5 was screened at BFMAF 2015.
In a village in central India, dedicated school teachers put their heart and soul into preparing a group of children for an entrance exam for a Government-run “School of Excellence.” Entrance Exam explores the stakes of the opportunities afforded by this continued, subsidised education for underprivileged children, as well as the many layers of struggle in this intense and surprising journey.
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Watch One Way or Another (1977) Sara Gómez’s “bold work of revolutionary feminism” alongside Back Inside Herself (1984) by S. Pearl Sharp. Back Inside Herself is newly restored by Cinenova and will be accompanied by On the Inside a prose poem by London-based poet Sarah Lasoye.
The screening is a prelude to Cinenova’s The Work We Share – a programme of 10 newly digitised films from the Cinenova collection. All have been captioned by Collective Text and are accompanied by 10 new artist response commissions, which will tour the UK throughout 2021-22.
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The Void Project looks at the effect of the absence of Palestinian visual archives on the construction of a Palestinian visual narrative. The project was founded by Palestinian documentary filmmaker, cinematographer, producer and writer Azza El-Hassan, whose documentary films mostly reflect her experience living in exile and her experience living in Palestine. In this programme, El-Hassan brings together a selection of films produced by the Palestine Film Institute in Jordan and Lebanon during the revolutionary years of Palestinian Cinema. These films are a testimony to both the history of international solidarity with Palestine, as well as the ongoing struggle for a self determined Palestinian narrative. — Jemma Desai
The screening at the Maltings will be introduced by Sheyma Buali, a programmer, producer and writer and member of the London Palestine Film Festival programming team since 2011.
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This screening will be accompanied with in person conversations with Éiméar McClay & Cat McClay (a body is a body is a body) and Rehana Zaman (Alternative Economies).
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Alternative Economies was made in conversation with herbalist Rasheeqa Ahmad and financial services regulator Rachel Bardiger. The film discusses the imperialist exploits of the Disney character Scrooge McDuck, and the apparently radical yet deeply compromised promises of cryptocurrency. Between these two strands, possibilities for an alternative network of exchange and subsistence are sought.
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Amalia Ulman’s debut feature is a dark comedy. El Planeta explores contemporary poverty, deception, class, and escapism through a tender mother-daughter relationship, played by Ulman and her real-life mother.
In La Nave, Colombian artist and first-time filmmaker Carlos Maria Romero (aka Atabey Mamasita) translates the meaning and spirit of Carnival de Barranquilla during a year in which gatherings were forbidden. Through clandestinely filmed performances with members of many different communities—indigenous, trans, queer, rural, Afro-Colombian and radical outsiders among them—Maria Romero recreates northern Colombia’s largest cultural event as an essayistic performance film, demonstrating how Carnival is a lifeblood to its many diverse participants.