You thought I was joking about Dasniya only being in Berlin on a Tuesday? Right now she’s in Oldenburg, then she’s off to Warsaw, then back to Berlin to perform, then I dunno — too far in the future to scry. Definitely in Berlin in December with Das Helmi though. Plenty of rope/shibari/bondage/yoga workshops in November too (and Wellness to Torture is still the best name for a workshop ever).
Dear Rope and Theatre Friends,
the must-be event of the month is the Porn Film Festival 2016, starting next week. Check out my first photo exhibition Moviemento cinema! For November there will be five morning classes, and a bondage gig for Arte.
Also back in November: Yoga Shibari, and Self-Suspension #2.
On a whim in May, because it landed in my maiming lists inbox, I decided to send temperance to Cinedans, promptly forgetting all about it in the whirl between then and a month or so ago. Then I find out it’s been accepted into the Festival and promptly forget to blog about it. So: temperance will be at the 2011 Cinedans Festival in Amsterdam from December 1st-4th. I’ll be in Brussels then, and shall try to find one of those €14.50 tickets from there to (the other) there, for a day/weekend of dance film, visiting Lewis if he’s in town, and canals.
A bit slack lately blogging about my favourite city, Guangzhou. Yes I do love it that much. 曹斐 Cao Fei, who is now living in Beijing wrote a few days ago about the 2006 Guangzhou International Documentary Film Festival running from 4th till 9th December. The theme of this year’s festival is 关注贫困Facing Poverty and films are screening at 天河电影城 Galaxy Cinema in Teen Plaza and 华纳金逸电影城 Warner Jinyi Cinema in Pearl New Estate Plaza, the latter of which does the whole teeth-vibrating surround sound and hallucinogenic peripheral vision filling screens. Also there’s films on at 蓝宝石展艺馆 Sapphire Art Space in the Holiday Inn which I’ve not heard of and for the scummy students stuck out in University Town at the 广州美术学院大学城校区 Guangzhou Academy of Fine Arts that’s further from Guangzhou than most migrant workers’ home towns.
As for the films, they come from all over the world with a lot from Netherlands, Portugal, Poland and Germany, and a stack from and about China including 秦始皇：中国的缔造者 The First Emperor: The Man Who Made China, 贫困线的挣扎——中国造 A Dollar A Day – Made in China, and a huge number of entries in the Festival’s competition, embarrassing there for all Australians is 太平洋解决方案 which is more usually referred to as the Pacific Solution, and there’s so many docos I’d love to see I think I’ll be blogging about them a bit more.
Naturally though the only one I really, truly care about and am hanging out for, and I know was only programmed because everyone thought I’d be back in Guangzhou and was sort of a welcome home, and I know I’ve disappointed you all by not being there, but as I was saying, I only really, truly care about Heavy Metal In the Country. Ja! Über!
The Black and White/Colour film Mama was my debut as a director, finished around my graduation days from the Beijing Film Academy, I was 25 then. A few days ago on December 22, a restored digital copy of Mama made its first-ever public screening in Zhonghua Cinema of Guangzhou. It was chosen as the opening film of a film festival sonorously titled “Ray of the Avant-Garde” by the organizers. It means a lot to me that Southern Metropolis Daily, 21cn and Sensei Cui Qiao helped getting this film a public screening at this moment. The first person that introduced the film to the west is the veteran Hong Kong film critic Shu Kei, he’s also a good director, with films like Soul (Lao Niang Gou Sao) and Queer Story (Jilao Sishi) on his portfolio. I would never forget his help. We are not close to each other by then, but after watching a VHS copy of Mama, he recommended the film to the director of Nante Festival des Trois Continents, who immediately sent me an invitation, and the film entered the competition section. I still remember how Mr. Wong Kar-wai helped stuffing the heavy film reels into his luggage, carefully brought them abroad for me. Only with these people’s help was Mama able to tour the world, getting screened on nearly one hundred film festivals, sometimes as film in competition. In fact, the same copy has been played so many times that it has drastically deteriorated. Thanks to all the friends who have supported me. It’s precisely because of all those western screening that I was able to get grants and fund from various foundations in France, Italy, Switzerland, Japan and Netherlands, which enabled me to realize several more movies afterwards, I would like to express my appreciation to them too.