Abdessamad El Montassir
Abdessamad El Montassir (1989, Morocco) lives and works between Boujdour and Marseille. His research-based practice is anchored in a trilogy of concepts: the right to forget, visceral narratives, and the trauma of anticipation. In his body of work, El Montassir sets reflexive processes that invite us to rethink history through collective or fictional narratives and immaterial archives. He has participated in several national and international exhibitions, including Invisible curated by Alya Sebti for the 13th Biennale of Contemporary African Art of Dakar and for ifa-Galerie in Berlin, De liens et d’exils at La Villa Empain – Fondation Boghossian in Brussels, Al Amakine in the context of 11ème Rencontres de Bamako, Saout Africa(s) in the context of the documenta 14 at SAVVY Contemporary in Berlin, among others. El Montassir also participated in various artist residencies such as the Art, Science and Society program at IMéRA in Marseille, La Cité Internationale des Arts in Paris, the summer’s lab at Le Cube – independent art room in Rabat and the Résidence Méditerrannée at La Friche La Belle de Mai in Marseille.
This screening will be accompanied with an in person conversation with Camara Taylor (suspiration!) and will take place at The Maltings in Berwick-upon-Tweed.
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The Festival opens with the world premiere of Idrish (ইদ্রিস) by Adam Lewis Jacob (UK, Bangladesh, 2021).
Idrish acts as an urgent and potent piece of anti-deportation activism. With reports of deportation flights regularly in the news, the film is rich with resonance to our current moment. In one striking sequence, footage of a protest march gives way to staccato editing and propulsive sound design by Claude Nouk, who re-uses and manipulates archival sounds to transform the film into a powerful rallying cry. Radically reanimating the documentary form, Jacob enlivens the archive to tell a vital history.
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Nguyễn Trinh Thi is one of Vietnam’s leading contemporary artists. Her moving image work engages with the ways in which memory, history and representation are part of broader structures of power, the legacies of colonialism and war, and the erasure of indigenous Vietnamese cultures.
Nguyễn Trinh Thi’s Focus Programmes are supported by CREAM, University of Westminster and Centre for Screen Cultures at the University of St Andrew
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In Tim Leyendekker’s debut feature film, victims, perpetrators and their observers offer entangled viewpoints on the 2007 Groningen HIV case in the Netherlands. In this case, three men hosting sex parties drugged others and injected them with their own HIV-infected blood. Feast explores the uneasy complexities, motivations, assumptions and projections of those involved and those watching: the media, the diagnosing professionals, and us, the viewers.
This screening will be accompanied with an in person conversation with Tim Leyendekker and will take place at The Maltings in Berwick-upon-Tweed.
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Rajee Samarasinghe’s body of work tackles contemporary sociopolitical conditions in Sri Lanka through the scope of his own identity and the deconstruction of ethnographic practices. BFMAF 2021 presents a series of Samarasinghe’s 12 short films shot over a decade—an archive of images navigating the terrain of migration, memory, and impermanence.
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Akingbade’s trilogy of films act as an ode to her cinematic project on social housing, tied together through an interweaving of archive, fiction, 16mm film, digital, activism and dreams.
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In consultation with Abbas and Abou-Rahme, Only the Beloved Keeps Our Secrets, a second work was chosen to accompany At Those Terrifying Frontiers Where the Existence and Disappearance. Taking the opportunity given by an online Festival, it was felt that this strategy might better simulate the artists’ performance, installation and exhibition making practice for viewers.
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Artist and filmmaker Kat Anderson presents the world festival premiere of ‘Restraint Restrained’. The programme features two films from Anderson’s first solo exhibition. The works draw on the experiences and narratives of the many mentally ill Black people who have met their deaths in police custody or mental health facilities, through excessive restraint holds and other violent and negligent behaviours. ‘Restraint Restrained’ references the central premise of Frantz Fanon’s essay ‘Concerning Violence’, in which he claims that in order for the decolonisation of indigenous land to happen, a total and violent purging of the colonisers by the indigenous people must occur. Anderson repurposes this idea to consider how the contemporary Black mind and body, as a ‘colonised space’, is processed through public health and police institutions; understanding such authorities as embodiments and enforcers of structural white supremacy.
‘Restraint Restrained’ was commissioned by Block336 and Black Cultural Archives and supported by Arts Council England, Elephant Trust, LUX and Spike Island.
