A story telling of a place and a place telling of a story
On the second day of the festival, we continue telling stories about places—forgotten (It will better before) or "chosen," marked for exploitation in the name of progress and reserved for the realization of large-budget ambitions (Standing above the Clouds). In some places, the millions invested yesterday have now turned into the ghosts of tourism (Strange Abandoned Deranged). Other places, left outside the budget, have been preserved with care and love (Of Kids and The Sea). Our program will tell the stories of people and other living beings who share an interconnected and sacred relationship with these places.
By telling stories about places, the films also reveal different approaches to these places and present these perspectives from various standings. We can observe how one’s relationship with a place is defined and transformed through the viewpoint of class, gender, or the perspectives of humans and other living beings (Resistance is Fertile).
We also observe one important distinction: the difference between a relationship with a place driven by a one-sided desire—domination and exploitation—and one that is an equal dialogue between people, nature, and other living beings.
Based on this, we will critically reflect on the concepts used within the dominant anthropocentric relationship with places, such as "abandoned" or "utilized" spaces.
Originally a collaborative project of two directors, it was reedited and modified by one of them after five years to unveil feelings she couldn't share with him back then.
Standing Above the Clouds follows Native Hawaiian mother-daughter activists as they stand to protect their sacred mountain Mauna Kea from the building of the world's largest telescope.
It's a regular summer day in the Eighth District, but as dusk falls, an unidentified flying object appears in the sky. "Resistance is Fertile" observes the development of events with an experimental gaze.
In a small seaside town, a children’s park, crafted from scraps of furniture, never sleeps and always waits for eager guests who never arrive. In the quiet, stagnant port city of Poti, where the Rioni River meets the sea, there is an unusual space. With old dolls sitting on tall poles alongside hand-painted birds and dolphins, an elderly man is trying to create a park for children and enrich their lives. This seaside park transforms throughout the day, assuming various roles: sometimes it serves as a gym, sometimes it’s a space for discussing politics and current affairs, and occasionally it becomes a hub for backgammon enthusiasts. Once in a while children also appear. However, at night, when the dolls are left alone, the park takes on a mystical atmosphere.
“Through its absurd voice, it crafts a circus-like panorama. Standing amidst abandoned state land with a history that echoes a mockumentary—filled with countless tragic incidents and boundless absurdities from Turkey's past—it becomes evident that to chase the controversial story of Naturland Eco Park is to journey through the last thirty years of a country.” - Ji.hlava International Documentary Film Festival
