La casa lobo (The Wolf House) by Cristóbal León and Joaquín Cociña, contains another, very different form of looking back. The film uses stop motion animation. The background is, once again, a military dictatorship in Latin America, this time in Chile. A girl flees from the German Colonia Dignidad and, in a dark forest, finds a house in which everything is in a constant state of metamorphosis - including herself. The film uses elements from German fairy tales and, once again, is about reappraisal and remembering.
Is this topic also present in the fiction films?
Yes. The range is very wide. Our Madness by João Viana tells of a psychiatric clinic in Maputo and the ghosts of a colonial past which haunt people’s minds to this day. Wieża. Jasny dzień. (Tower. A Bright Day.) by Jagoda Szelc reveals from the outset that it is based on events in the near future. It shows a family whose unspoken and repressed secrets from the past make it impossible to master this near future.
Does this concentration on a single topic say something about the current state of the world?
Absolutely. Our work as curators means recognising a common theme in the creations of the filmmakers and to make this clear in the compilation of the programme. And a focus on the past is something that is intensively preoccupying filmmakers at the moment, precisely because the view of the future is very much blocked across the world. We can’t really imagine what our civilisation will look like in 20 or 50 years time. To find answers to this question, we must fully engage with the past because it contains the root causes of what is happening today. This is the prerequisite for future utopian visions.