Program 6
Real Fictions

		Second Office, by Bao Lixin (France/China) 2011, 13’ According to the Chinese media, there are several hundreds thousands concubines in the country. Even if it is forbidden by law, more and more young women are now becoming mistresses of powerful men in order to escape poverty and rise up the social ladder. The wife becomes the man’s object; she is subdued and depends totally on him. A situation of both desire and endured provoking pleasure and frustration. www.lixinbao.com
		Morning, by Birgitte Sigmundstad (Norway) 2011, 1’5’’ The image of a woman washing herself in a soldiers helmet comes from a story I was once told from postwar Germany. It describes an everyday scene with a twist that gives it an second story about the past in the present.
		The Boy Who Collected Skins, by Joacélio Batista (Brazil) 2010, 11’44’’ In the edge of the river the boy collect empty skins in front of the uncertainty of the almost afternoon, almost night. http://joaceliobatista.blogspot.com/
		Help, by Teresa Puig (Norway/Spain) 2008, 2’40’’ In Ciudad Juárez (Mexico), at least one woman disappear every week. Her body will appear in the dessert surrounding the city after a while, with clear proof of having been brutally tortured, raped and mutilated, or perhaps only a cadaver or a few bits of bone will appear, the only witnesses to vicious and cruel murder. www.teresapuig.com
		Paris January 30th, by Kjetil Skøien (Norway) 2010, 3’40’’ A man in a blanket and with no shoes is waling in Paris streets among exclusive shops and people.
		Hatchet, by Hilda Daniel (USA) 2011, 29’’ Metallic screams, subtext/text, fighting flies, and “hatchet” refrain chugging like a train or train of thought locked in madness or fear. Decapitated segments propelled by phoenetic sequences suggesting threat, violence - dv, rape - escape. The piece is a fright of fancy - a concrete poem part rage, part fear.
		Disastrous Dialogue, by Soren Thilo Funder (Egypt/Denmark) 2011, 10’ Hollywood disaster movie scripts translated into Arabic and performed by Egyptian actors, thus transforming the script through the voice of Hollywood cinema’s unrepresented. The film was shot immediately before the Egyptian Revolution and is dedicated to the actress Sally Zahran who perished during the brutal attacks on Egyptian demonstrators. www.sorenthilofunder.com