A Moon for My Father at 17th International Film Festival TORUN- Poland 2019
“Artistic performance is the bridge across the black hole of trauma, the evolved individual and group response to the tragic nature of human existence”.
A Moon for My Father at 17th International Film Festival TORUN- Poland 2019.
Screening on 20 October 15:15. Kino Centrum.
Mania Akbari looks into the connection between her body and the political history of Iran, investigating the relationship between her own physical traumas and the collective political memory of her birthplace. As she undergoes surgeries on a body decimated by cancer, remembrance and reconstruction provide a framework for investigating how bodies are traumatised, censored and politicized, and yet ultimately remain a site of possibility. She collaborates with British sculptor Douglas White to coin a tender fusion of language, where a meeting of cinema and sculpture investigates the processes of physical and psychological destruction and renewal. Documentary.
A MOON FOR MY FATHER at 43ª Mostar International Sao Paolo Film Festival.
Mania Akbari colabora com o escultor britânico Douglas White para propor uma fusão de linguagens, em que a reunião entre o cinema e a escultura investiga os processos de destruição e renovação física e psicológica. O filme mostra o aprofundamento do relacionamento artístico e pessoal entre os dois, que explora a natureza da pele, da família, da morte, da água, do desejo e, por toda parte, uma poderosa vontade pela forma. Mania analisa a conexão entre seu corpo e a história política do Irã, investigando a relação entre seus próprios traumas físicos e a memória política coletiva de seu local de nascimento. Tudo isso fornece um caminho enquanto ela passa por várias cirurgias em um corpo dizimado pelo câncer. A história do seu corpo se mistura a uma conversa sobre como os corpos são traumatizados, censurados e politizados e, no entanto, continuam sendo um local de possibilidades.
A Moon for My Father at DOKUARTS- Berlin 2019
It may be that letter writing has become a forgotten art. And yet, as art that demands from the writer both intimacy and intellectual depth, it resembles the art of documentary filmmaking. Like letters, documentary films move between closeness and abstraction.
Iranian filmmaker Mania Akbari draws on this similarity: Together with her partner, London based sculptor Douglas White, she has created a fascinating essay film in form of a correspondence. The letters document their artistic process and provide a strong narrative that accompanies their cinematic collage of personal pictures, images of White’s work, and archival material from Iran. Disturbing sequences about Akbari’s struggle with cancer and a high-risk pregnancy enter into a dialog with White’s creatural sculptures to create a fascinating contemplation about the links between body, object and memory, destruction and reconstruction, violence and hope. Akbari’s and White’s deeply poetic correspondence shows that life needs art as much as art needs life.
A Moon for My Father @doclisboaiff 17-25 October 2019
I have recently visited Marlene Dumas’s Exhibition, which is currently on display at Tate Modern. By mixing two portraits on a paper and creating a hole instead of eyes and the mouth of those faces, she ended up creating a new mysterious portrait.This collection reminded me how it’s possible that two people from two different cultures and languages could possibly create a new, mysterious and thought provoking face.Today the discussion of cultural encounters between the artists and creation of a new art work is an unavoidable subject. And, how the affiliation and encounter of two different human beings from two different cultural background, two different languages, two different set of memories, two history and geographical setting, can reach to a common language called art. How it could create or produce beauty and art from pain, suffering and aggression. How one’s mental structure that holds all the childhood memories and the geographical borders that gave it depth and perspective could associate with the memories and constructions of another geographical space. In my recent experiences, after immigration I became fascinated and obsessed with this dialoged between two languages of two geographical borders, two architecture and two memory settings, to explore and reveal the mysteries and concepts which are beyond geographical borders of countries and languages. And that is the language of form and concept, which creates art. I first had this experience with Mark Cousins, Irish documentaries and filmmaker and then continued to have this experience with Douglas White. In Douglas’s work, the most fascinating thing for me was that how an object potentially could relink the deepest lost or forgotten stories of one’s mind and find the traces of pain. And then you tend to care for those pains with tenderness and transform them to beauty and give it a meaning that is beyond human’s pain and suffering… the meaning of life…Then you tend to create beauty and sheerness out of aggression or violence and Life out of death.
Mania Akbari collaborates with British sculptor Douglas White and looks into the connection between her physical traumas, on the one hand, and the history and collective political memory of Iran, her birthplace, on the other. Remembrance and re-construction provide a course, as she undergoes various surgeries on a body decimated by cancer. A conversation of how bodies are traumatised, censored and politicized, and yet ultimately remain a site of possibility.