Trauma Bar und Kino is pleased to invite PW-Magazine and Synergie to present the film screening ‘Echoes of Synchronicity’.
The “Echoes of Synchronicity” program explores the delicate balance between mystery, hope and oppression within the intricate tapestry of interconnected events and patterns depicted in films. These cinematic narratives meticulously scrutinize the enigmatic shadows of past violence and oppression that lie beneath the surface of individual images; unraveling mysteries that resonate across time. Amidst the haunting echoes of history, the program seeks to uncover glimmers of hope, offering a profound reflection on the enduring human spirit within the mysteries of our shared past.
The screening is curated by Chima Okerenkwo.
“Nazarbazi”, Maryam Tafakory, 19’ (2022)
After the revolution in 1979, Iran prohibited the depiction of men and women touching on the silver screen. Since then, directors have relied on every cinematic trick in the book to mirror the ecstatic release of tension through touch – but often it is the game of glances that is enough to set a scene ablaze. ‘Nazarbazi’ collages these saturated cinematic moments into a poem about love and desire in Iranian film, that also echoes our own time of physical distancing.
“Dizzy”, Juliet Carpenter, 12’ (2022)
Set in a disquieting bedroom, ‘Dizzy’ follows a woman who repeatedly performs the Epley maneuver, a medical exercise designed to relieve the sufferer from the symptoms of vertigo. Her performance-therapy is only broken by trips down a spiral staircase to visit a mysterious infant in a bassinet. The film’s uncanny atmosphere, coupled with meticulous camera movements and distinctive sound design, imbue it with a mesmerizing quality. It delves into thought-provoking themes, challenging concepts of patriarchal suppression and exploring the notion of female hysteria.
“Pacific Club”, Valentin Noujaïm, 17’ (2023)
In 1979, the Pacific Club was opened in the basement of La Défense – the business district of Paris. It was the first nightclub for Arabs from the suburbs; a parallel world of dance, sweat, young loves, and one-night utopias. Azedine, 17 years old at the time, tells us the forgotten story of this club and of this generation who dreamed of integrating into France but who soon came face to face with racism, the AIDS epidemic and heroin.
“Crashing Waves”, Lucy Kerr, 19’ (2021)
‘Crashing Waves’ follows a testimony from a stunt performer who reflects on both the ecstasy and peril involved in their labor to defy gravity. While images produced for Hollywood appear slick and controlled, the performer’s testimony reveals otherwise, as they parse out all of the elements that go into a car crashing off a cliff into water for a TV show, unfolding the months of labor, training and danger that the stunt involved and contingent on capitalist, patriarchal hierarchies in the film industry.
“Phalène”, Sarah-Anaïs Desbenoit, 22’ (2022)
Twin sisters live in complete symbiotic isolation. Every gesture in their life is perfectly synchronized. One day something changes and they are forced to embark on an adventurous journey to regain their normality.
With its visually striking and meticulously orchestrated presentation, the universe of ‘Phalène’ offers a journey into a realm shaped by Desbenoit’s unique vision and sensitivity.
