TOMORROW’S CHILD
• TECH TRASH OPERA • AARHUS, DENMARK • 2014 •
SCREENINGS:
July 2014: The Herring Era Museum, Siglufjörður, Iceland (test screening)
January 2015: ‘Artist Film Screenings’, KARST, Plymouth, England
February 2015: ‘Copenhagen Short Film Festival’, Husets Biograf, Copenhagen, Denmark
The film is accessable for online screening for distributors and festival programmers.
Please send a message for further information.
A film by Jolene Mok & Troels Primdahl
Production assistant: Jessica Roper [UK]
Sound editing: Filip Johan Arnestad [DK]
Voice over: Arnar Ómarsson [IS]
Acknowledgement:
Nonni & Kristin
Sveinn G. Halfdanson
The Herring Era Museum
REITIR 2014
Aðalheiður Sigríður Eysteinsdóttir
Jakob Örn Kárason
Arnfinna Björnsdóttir
Selma Dóra Ólafsdóttir
Jón Ólafur Björgvinsson
Kristina Róbertsdóttir Berman
Örlygur Kristfinnsson
Jón Hrólfur Baldursson
Ásdís Magnea Gunnlaugsdóttir
Logi Garpur Másson
Eysteinn Aðalsteinsson
Jóhnnes Arelakis
BACKGROUND
How to document or capture the particular ‘tone’ of homegrown inhabitants living in their everyday surroundings? And how to get each of them to express their own character with such an authenticity, that their portraits might even reveal something that they didn’t knew about themselves?
This choreographic documentary shows a series of ‘Interrelational Field Recordings’ from Siglufjörður on the Northern coast of Iceland. Through an artless concept of repetitions and bodily gestures an anthropological portrait of the inhabitants in small fishing village gradually emerges. Each of them is articulating their own person, not in the dimension of lingual communication, but simply through the similarities and differences that only the viewer is able to comprehend.
POEPLE. MOVES. PLACES. has been awarded with The Memefest Recognition for socially responsive Art at the Australian Memefest Festival 2014.
A curator from the jury, Alana Hunt, writes:
»There are just so many things I love about this film. The composition. The rhythm. The intimacy. And the power of its simplicity. I left your film feeling as though I understood something in these people, I don’t normally understand in many of the people I am surrounded by each day. It felt like I had been part of a something intimate and honest[…] Your film achieved a kind of filmic dialogue, in which I felt something quite intimate with those involved – despite never having a word uttered nor being in their physical proximity. That is almost, magic.«
