Like a big lunch, the 6^th Auroville Film Festival ended leaving us all full, tired and with big smiles on our faces. But still, I’m not quite able to define it. Had I assisted a community festival or a film festival? Every person with whom I spoke gave me a totally different answer. They ranged from the ones locked up in the cinema for a week watching every single movie, to the ones who hadn’t seen any films at all, but spoke to me with enthusiasm about the dinners and the live music.

This year’s edition of the festival made it really challenging to answer my question. If the participation, the food, the people dancing or seated on the grass next to the stages would suggest first one answer, then those seeing so many great films from the first night to the closing awards ceremony, left me the feeling it was a film festival after all – and a really good one. 

All my life I’ve been used to film festivals being ‘closed’; festivals made and designed just for a few members of the film industry, to show each other their works. After a few years in that world, I was seeing the same old faces, again and again, festival after festival. And most of the films that were screened there were almost impossible to understand if you didn’t work in movies. Sometimes I found myself in community festivals which were extremely nice, but where the selection of events was nothing special, really. So this is probably what surprised me the most, being part of the Sixth Auroville Film Festival: seeing a whole community attending screenings of a truly high-quality selection of Films, from all over the world; where the audience was called to react to seeing a lower caste being mistreated by an upper caste in India; next to the magic of the polyphonic singing of the naga community; then to reflect on the silence that surrounds the sexually abused; to laugh, seeing a man who looses his wife at the supermarket among a sea of women all wearing burqas’; to explore female sexuality following women who are fighting to overcome misogyny and ignorance. All of a sudden, all these international hot topics were brought into this community, in one place and at one festival. New ideas, new discussions sprang up between people, ranging from politics to art for its own sake. 

While all this was happening there were films made by Aurovilians, revealing an artistically active community sharing with one another, manifesting a strong desire to grow together. 

Maybe isn’t right trying to define the AVFF, maybe it’s time to rethink what a film festival is, and what is its role in society. This week I’ve been seeing the true purpose of Art-house cinema. For a moment I lost all those fears that come from the likes of Netflix  – mass-produced films and TV from globe straddling entertainment machines –  and I saw instead a whole community reacting to art, together. And all I can think is that this culture must spread.

Luca

Cinema Paradiso Award

‘DISLIKE & UNSUBSCRIBE’ by YAM

Today’s society is struck by constant intrusion and distraction by social media, which is taking away time, pleasure and human interaction in more ways than one. ‘Dislike and Unsubscribe’ addresses a technological addiction that is scarily relevant to the lives of children and adults alike and finds a form that is contemporary in its visual appeal.

Creativity Award

‘STEVE’S DISASTER’ by ERHEL, CHANDNI, MALIK, JOSHUA, SIJMEN, AYAN

‘Steve’s Disaster’ uses detailed and painstaking stop animation with a confident aesthetic style. It connects to the audience with its straight-faced humour. It is presented in an eclectic and new form of visual story telling.

Wisdom Award

‘TREAT OTHERS THE WAY YOU WANT TO BE TREATED’ by RAGHUL

‘Treat others the way you want to be treated’ is awarded for the wisdom applied in sharing the message of how we process expectations and behaviour in inter-personal communication and relationships. Respect flows from the circle of our attitudes and behaviour towards others. We often get what we beget.

Jury Award

‘UNAVE MARUNTHU’ by R. HARISH

‘Unave Marunthu’ wins the Jury award in the student category for taking up the subject of food waste through parenting. Enabling a child to value food, experience hunger and understand what it means to waste food.

Cinema Paradiso Award

‘TWO FLAGS’ by PANKAJ RISHI KUMAR

‘Two Flags’ receives the Cinema Paradiso for its deep insight into the lives of the Tamil-French community of Pondicherry and how the vagaries of politics, nations and citizenship affect them. The film resonates with audiences, local and international, while creating a historical archive of what is and what was.

Jury Award

‘SAINTS OF PONDICHERRY’ by OGYNYAN ENEV

Saints of Pondicherry wins the jury award for its sensitive portrayal of reviving the spirit of life in old age with love, sharing and caring. This documentary builds an expanse of humanity and kindness, critically needed in society today.

Cinema Paradiso Award

‘ASHVAMITHRA’ by EARTHLING KOUSHALYA

Ashvamithra wins the Cinema Paradiso Award for its intuitive and sensitive portrayal of human relationships, care and support in the context of mental health experiences across age. The gritty expression of filmmaking is emotionally engaging while having a panoramic appeal.

Wisdom Award

EVER SLOW GREEN by CHRISTOPH POHL

Ever Slow Green wins the Wisdom Award for its cinematic narration of how Auroville became a one-of-its-kind forest town in India. It journeys with a community of people who value, protect and nurture the diversity of Auroville’s natural and human environment. Soft light and music take the viewer through the forest cover of the land, water and people that form the essence of Aurovillian life. A labour of love!

Jury Award

In this category we have decided to give two Jury Awards to short films that for us capture the heart of Auroville.

‘FROM MY LITTLE HUT IN THE FOREST’ by YORIT ROZIN 

 ‘From my Little Hut in the Forest’, we award for its quirky insight into daily life and times in Auroville.

‘WALKING MEDITATION by RENA

‘Walking Meditation’ for its poetic rhythm, sensual and playful look at the sounds, textures and creatures all around us in Auroville and the bioregion.

Mongbra Award

‘HOTTER THAN HELL’ by MARCO SAROLDI

‘Hotter than Hell’ wins the Mombra as it makes you laugh all the way into what makes Auroville a dream reality.

The following films have been awarded in the category ‘Human Unity’:

Cinema Paradiso Award 

This award will be shared by two films:

‘TURUP’ by EKTARA COLLECTIVE

This feature-length Hindi drama interweaves the stories of three women from different backgrounds, and explores issues of caste, class, gender and religion, played out against a growing intolerance to difference. While the town’s men conduct a public chess tournament, the women’s lives intersect, and they find ways to subvert and transcend barriers. While the film’s considerable merits alone make it an award-contender, we judges were also impressed by the collaborative filmmaking process by Ektara Collective, where the director’s credit is shared by all participants. We feel that this filmmaking process based on volunteerism and cooperative spirit aligns with the principles of Auroville, and the festival’s focus on human unity.  

‘UP DOWN & SIDEWAYS’ by ANUSHKA MEENAKSHI and ISWAR SRIKUMAR

This documentary portrays the rice cultivators of the village of Phek in Nagaland, who sing unique polyphonic songs together, while working hard in the fields or sitting around the bonfire. Their poetic songs of love express a longing for the other, and for community. For this poetic and artistic depiction of connection and unity, we award one Cinema Paradiso Award to the film’s directors, Anushka Meenakshi and Iswar Srikumar, who are here with us today.

Wisdom Award

‘EARTH CRUSADER’ by SHABNAM SUKHDEV

Tucked away in the foothills of Dharamshala lives Didi Contractor, who lives on her own terms. German-born and raised in US, she has adopted India as her home, where she implements her passionate mission and vision of sustainable mud architecture – a vision that she shares widely in order to inspire others to live in harmony with the earth. The director Shabnam Sukhdev beautifully captures Didi’s deep philosophy of connectivity to the environment, tradition and living in harmony with human nature.

Jury Award

This award will be shared by two films:

‘ABU’ by ARSHAD KHAN

Abu is a deeply personal documentary about the filmmaker’s own journey of migration from Pakistan and Canada, and coming out as a gay man. It foregrounds the  relationship of the director – Arshad Khan – with his father, and encompasses themes of migration, sexuality, abuse, secrecy, intolerance, homophobia and fundamentalism. It is a sensitive exploration of the challenges to the bonds between parents and children, and a father and son’s journey to forgiveness and acceptance – and it therefore has a strong coherence with the festival’s theme of human unity. 

‘#FEMALE PLEASURE’ by BARBARA MILLER

This German-Swiss documentary by Barbara Miller explores female sexuality in the 21st century across the globe, foregrounding evocative stories from India, Africa, Japan, USA and Germany. It highlights the obstacles that stand in the way of women’s evolution, such as culture, sexism and misogyny. Through the cultivation of their own consciousness and strength, the film’s subjects overcome these obstacles, showing how human unity can be achieved both internally and externally. 

Special Mentions 

We wish to acknowledge two short films with special mentions:

‘BURQA CITY’ by BRACQ FABRICE

When a man discovers he has returned home with a veiled woman who is not his wife, how does he find his own wife amongst the sea of burqa-clad women? This film is humorous romp that highlights the difficulties of being forced to live by societal standards in a repressive regime with absurd rules. For this well-crafted and highly engaging film that makes important points through incisive humour, we award a Special Mention to the director Fabrice Bracq from France. 

‘THE UNUSUAL BATH OF MR. OTMAR’ by NIKO RADAS

How does a totalitarian state oppress, silence and bring into line defiant citizens? By literally white washing them! For opening our eyes for this topic in a playful and touching way, we issue a special mention for the innovative animated film “The unusual bath of Mr.Otmar” by the young Croatian filmmaker Niko Radas.

#FEMALE Pleasure di Barbara Miller è un altro documentario da inserire nella vostra lista di film da non perdere, per comprendere quanta oppressione, ignoranza e stupidità siano ancora radicate e perpetrate a livello globale contro le donne. Il corpo femminile è ancora visto come offesa e oscenità, oppresso dall’oscurantismo religioso che non risparmia nessuna cultura, o al contrario ipersessualizzato e sovraesposto. La mutilazione degli organi genitali femminili è ancora oggi usanza ritenuta necessaria in determinate culture, e l’accettazione della violenza sulle donne non è solo vista come normale, ma addirittura a volte viene utilizzata come feticcio glamour da esporre sui cartelloni pubblicitari. Non meno importante, l’ignoranza che riguarda la sessualità e soprattutto il funzionamento dell’orgasmo e dei genitali  femminili, è ancora qualcosa che affligge non solo gli uomini, ma anche le donne stesse.

Perdonatemi, ma qui non è questione di femminismo, è questione di aprire gli occhi e dire basta, è questione di giustizia e di intelligenza, ed è questione di diritti basilari che riguardano l’umanità. Dopo 

“#FEMALE Pleasure” la visione di “Burqua City”, corto di Fabrice Bracq, è servita a stemperare con ironia l’argomento molto discusso del Burqua, ponendo l’accento sul non-sense e sulle contraddizioni della sua cultura.

Jour 5 – « Un moment de faiblesse. A moment of weakness ». 

(in English below) Un court métrage français de 15 minutes. Un homme accueille une vieille femme SDF à passer la soirée chez lui le soir de Noël. Il cuisine un bon repas, lui prépare un bain, lave son linge. Le lendemain, ils partent à la mer qu’elle n’a pas vue depuis l’âge de 10 ans. Un film d’une grande simplicité et de beaucoup de tendresse. Des visages proches. Une intimité bien qu’on ne sache presque rien d’eux. Pas de fioriture. Un geste simple : un être humain offre de la dignité à un autre humain. Rien d’autre. Ne lui demande rien en retour. Un simple don. Quelque chose que chacun d’entre nous peut faire. Monique Deshors, l’actrice, présente à la projection, explique que se retrouver dans la rue pourrait arriver à chacun d’entre nous. C’est ce qu’elle voulait montrer en explorant ce personnage. Seul bémol au film : la vieille femme révèle un magnifique sourire montrant une dentition parfaite si improbable pour une SDF. Mais qu’importe, ce qui compte dans le film, c’est cette capacité humaine à faire un geste simple envers l’autre, un geste qui vient du cœur, qui prend son origine dans un « moment de faiblesse » comme le dit l’homme dans le film. Un geste qui devient naturel quand on laisse ouvrir un peu la carapace de protection tellement typique des urbains occidentaux. Noëlle Mathis 

Day 5 – “A moment of weakness. Un moment de faiblesse” is a French, 15-minute short film. A man welcomes an old homeless woman to spend the evening at his home on Christmas Eve. He cooks a good meal, prepares a bath for her, does her laundry. The next day, they leave for the sea, something she hasn’t seen since she was 10 years old. It is a film of great simplicity and tenderness. We see their faces close together. There is an intimacy, even though we know almost nothing about them. No frills. A simple gesture: a human being offers dignity to another human being; nothing else, and asking nothing in return. A gift –  something each one of us can do. The actress Monique Deshors attended the screening, and explained that finding ourselves living on the streets is something that could happen to any one of us. This is what she wanted to show by exploring this character. The only downside to the film is that the old woman reveals a beautiful smile showing a perfect set of teeth, so unlikely for a homeless woman. But what matters in the film is that it shows the human capacity for making simple gestures of kindness towards each other; a gesture that comes from the heart, that originates from a “moment of weakness” as the man in the film says. A gesture that becomes natural when we let the protective shell, so typical of western urban dwellers, open up a little. Noëlle Mathis

‘Earth crusader’ is a truly inspiring film. On one side, seeing an 85-year-old woman dreaming about the future is something that fills me with hope for us all. On the other, on my way between Chennai airport and Auroville, I’ve seen so many buildings in construction, so many awful mountains of concrete with neither design nor identity, that I really started to worry what the world will look like tomorrow.

Didi Contractor is leading a revolution, reviving local materials, human design and artisan craftsmanship. Didi is an educator, challenging younger generations to break through mental boundaries, and to give birth to new ideas that can change the world for the better. She teaches her collaborators how to build with their own hands, with mud and other natural techniques. Through talking, listening and getting to know her clients, she creates spaces that are truly designed for those who will live in them. This documentary introduces us to a woman who is changing this world into a better one, something I find truly encouraging. And more than being simply a beautiful documentary, I’ve seen ‘Earth crusader’ actually moving people; I’ve seen them discussing it outside the cinema, getting interested in a more natural way of building and living, and this, I think, is the biggest achievement for a documentary. More than just showing or teaching something to viewers, this film planted seeds into their hearts, seeds set to grow and flourish – a living piece of this amazing woman inside us.

Today I saw the film #FEMALE PLEASURE. What an inspiring, brutally honest film! Such a strong reminder that despite our social normalisation and denial of the issue, the abuse and condemnation of women and women’s bodies is still very present as a justified behaviour in our societies, across several countries, nationalities and cultures. To make a global shift on this issue is as relevant as any other urgent planetary crisis. The good news is that the change is happening and this film is a testimony of that!

Through various women’s stories, Female Pleasure shows in a magnificent way how the persistent abuse and repression of women is completely related to toxic religious ideas and the abuse of power from the patriarchal societies that we are living in. The storytelling in the film is intelligent and balanced; every character has a well-developed dramatic arc and the mixture works perfectly as an overall perspective on the gravity of the situation.

The film also exposes how society is neglecting not only sexual education for girls and boys, but also how this issue is deeply interconnected with human rights, gender inequality, and the abuse of power.

This film makes for uncomfortable, but essential viewing, in my opinion, and especially for Auroville, the City of Dawn. Now, more than ever, we need to wake up and take responsibility. We are the unconscious ones that have made life a living hell in the name of God and false morality, we are blinded by our own fears. God didn’t send us here to deny such things as pleasure, joy, love, and life itself; religion did! It is time to clean spirituality from the repressive institutions of religion, and to stop this unacceptable suffering, not only for the sake of women, but for the health and wellbeing of all.

On the first day of the Film Festival we recorded the Noizegate’s rock sound. Enjoy!

Here you can listen to the very first live concert held at Town Hall garden area by Hunter on drum and Yuri on keyboards

Over the last couple of days, I’ve watched two films that give alternative views on community. One was Ashes in the Snow (2018) a harrowing account of the lives of Lithuanians under Soviet control during WWII, and the other, Aunty Sudha Aunty Radha (2019) a tale of two old ladies and the community that has grown up around them, in their village in Uttar Pradesh. The difference between the two could not be more striking. Ashes gives an account of Stalin’s Soviet interpretation of Marxist philosophy, an ideology ‘born of the mind’ (to quote my old university lecturer, Peter Miles), and Aunty depicts a community that evolved organically, centered around the needs of the two old ladies. The Soviet machine saw anyone who thought or behaved differently to themselves as ‘enemies’, and sentenced them, without trial, to slavery, torture and death in the most soul-numbing fashion – why waste bullets when you can just ship people off to the arctic circle and let them freeze or starve to death?

In Aunty, the love and respect shown to these cantankerous, yet hilarious; kind, yet stubborn, old ladies formed a community whose initial intention was to support the old women, but resulted in a community which supported one another, sharing resources and was based on love. Ashes showed a society based on suspicion and fear, controlled through violence and a sickeningly brutal inhumanity.

The Soviet machine was devised and run by men, the two Aunties community evolved around the needs of women. One was driven by ego, the other driven by love; and therein lies a whole universe of difference.

Se i film del giovedì erano stati caratterizzati dalla chiave dell’umorismo (“Aunty Sudha Aunty Radha” e “Laugh or Die”), i film proiettati al Cinema Paradiso ieri sera sono stati accomunati dalla chiave “Argomento tosto da digerire”. I presenti in sala hanno assistito alla proiezione di “Abu – Father” di Arshad Khan, regista e protagonista della storia, che si è poi collegato via Skype con il pubblico di Auroville per una serie di domande e risposte. In seguito è stato presentato “Love” di Raul de la Fuente, documentario dedicato al tema della prostituzione minorile in Sierra Leone e ad un progetto di recupero di queste ragazze da parte dei missionari Salesiani. Due pellicole adatte a “far pensare”, molto diverse tra loro dal punto di vista stilistico, ma entrambe ben eseguite e diritte al cuore della questione. Abu in particolare narra la storia del regista pakistano e del difficile rapporto con la sua famiglia (soprattutto con il padre), a causa della sua omosessualità. La pellicola tratta diversi argomenti importanti quali: la violenza in famiglia perpetrata dai parenti sui bambini, la vergogna e il silenzio sugli episodi accaduti, l’omosessualità e il senso di colpa, il conservatorismo religioso e culturale, l’emigrazione, la ricerca della propria identità, l’accettarsi, il perdono, l’amore incondizionato. È stato un piacere partecipare all’interazione tra il regista e la sala, che un perfetto collegamento wifi, inconsueto per Auroville, ha davvero permesso di eliminare le barriere della distanza tra il Canada e l’India. 

Questo Film Festival è un’occasione da cogliere a trecentosessanta gradi. Invito davvero la comunità a partecipare numerosa. Ancora due giorni di cinema, performance musicali e installazioni d’arte prima della chiusura, che sarà domenica 12 Gennaio. 

Today was definitely ‘Unity in Diversity’ day at the film festival. I saw a variety of short films made in Auroville, some of them quite informative and well done, and others with a very good sense of humour – a quality much appreciated by the audience, especially those Aurovilians relating to in-jokes and certain characters within the community. It can be hilarious to watch your friends on the big screen exposing themselves as characters!

I also saw a couple of European films that caught my attention, and then I enjoyed the classical piano music played by some students of Auroville.  

I also danced a little bit to the Bossa Nova concert, while eating a delicious international dinner. Even the food was in tune with the diversity vibe tonight: a variety of flavours from Europe could be tasted along with the concert.

Days like this are a reflection of how the entire world is already contained in Auroville.

Up until now I’ve dedicated few words to Aurovilian movies, due to my short time here. It isn’t easy to write about films made without the right tools, and without money, while other films on the theme of human unity are being screened – films made outside Auroville and by industry professionals. At least it has been difficult until this Friday afternoon, when, after a selection of short films from around the world, an Aurovilian film began. All of a sudden, whole audience was engaged. Seeing them laughing, pointing to themselves or a friend on screen, I felt how inclusive that moment was; how, more than anything, the Auroville Film Festival is an occasion for the community to meet, to share and be united. Indeed, it’s rare to find such a high participation in a film festival as it is here. So I’m glad to see that 40% of the films screened are Aurovilian; so glad to see how, for one week, the boring, bureaucratic and administrative Town Hall transforms; how faces I’ve never seen and faces I’m starting to get used to, join the venues, dance in front of the music stage and eat together. I start to get a glimpse of what this community really is.

This Wednesday Cinema Paradiso screened two extremely interesting Indian movies. 

‘Turup’, which, from its opening frames brings the flavor of cinema, and of Indian’s love for movies. It is exciting, for a cinema lover such as me, to be in a country that can come to a complete stop the day a new film comes out. A country where potentially everyone is an actor – and a good one! So in this extremely international festival, the opportunity to bathe in Indian culture is very much appreciated. 

‘Turup’ is a very subtle and clever drama where a chess tournament, probably one of the most democratic games, becomes the pretext for talking about the tensions between Muslims and Hindus, between casts, over the emancipation of woman, social disparities, corruption in an India that wants to grow, to change, and yet is blocked by the greed of those who gain from such disparities.

Later that night, ‘Cry Humanity’ digs even deeper into this topic telling the story of a man who can’t bury his father, because a higher cast forbids him from using the road to the graveyard. This film is a marvelous Tamil, independent drama, and is beautifully filmed using a handheld camera, which brings the audience right into the very heart of the inhumanity, and shows how the Indian Constitution has been betrayed and ignored. Yet as much it angers me, I’m happy to see this on the screen, and I’m happy to hear it spoken out loud; to feel in the air the smell of change, or at least people fighting for it. Because, as the song that closes the film says: “we’re all humans”.    

Jour 3 – Une leçon de vie avec deux femmes âgées réjouit et donne envie de vieillir. Heureusement il y a des films comme « Aunty Sudha Aunty Radha » réalisé par Tanuja Chandra qui viennent contredire ce que l’on a écrit la veille. Alors que j’évoquais le sort des veuves et la possible misère qui accompagnera leur trajectoire suite au décès de leur mari, « Aunty Sudha Aunty Radha » à l’écran, nous ravit et transporte dans un état de joie intense. Deux sœurs, âgées de 86 et 93 ans, sont interviewées par leur nièce dans leur maison de campagne dans l’Inde du Nord. Les deux femmes, l’une belliqueuse et rarement satisfaite, l’autre en paix et sereine, partagent leurs dernières années, accompagnées d’un personnel bienveillant. Bien sûr, la vie d’une veuve n’est pas la même lorsqu’elle a eu une profession ou un mari fortuné ou éduqué. L’une reçoit une retraite publique, l’autre a eu un mari médecin. Les deux nous enseignent des leçons de vie à chaque scène, notamment par leur capacité à rire de la vie et d’elles-mêmes, y compris faire de l’humour sur leur déambulateur respectif. L’harmonie créée autour d’elles semble irréelle : un magnifique jardin de fleurs, des légumes de qualité, un personnel toujours présent et attentif malgré le mauvais caractère de l’une des deux. On sent la force du collectif. Elles sont entourées, entendues, respectées. Aucune peur ne traverse leur quotidien, sauf celle créée par l’esprit agité, bien connu de la plupart des êtres humains. Dans une scène, l’une recommande à l’autre de lâcher toutes les pensées, qu’elles concernent le passé ou le futur. Et le public rit, tant la tâche est difficile et pourtant celle qui nous incombe afin de vivre le présent sereinement. Les visages de Sudha et de Radha sont filmés avec cette intimité qui nous fait les rencontrer vraiment. En leur compagnie pendant 49 minutes, on s’avoue que vieillir fait un peu moins peur. Les connaître donne même envie de vieillir. On est surpris de ce constat. Le découpage du film en nombreuses scènes intérieures et extérieures maintient un rythme dynamique qui contribue à lui donner un élan enjoué. A la fin du film, la productrice Anupama Mandloi révèle que le tournage pendant huit jours pour 24 heures de pellicule a été un moment très fort de partage et de rire. C’est bien cela qui est communiqué aux spectateurs. N’empêche que le sort de chaque femme âgée dépendra de la vie qu’elle aura menée et des opportunités qu’elle aura eues (ou pas). Même si je veux croire à l’égalité des chances, il ne reste que l’éducation et une vie professionnelle stimulante sont essentielles à chacune pour poser quelques pierres à la construction de la cathédrale qui permettra de mieux s’engager dans l’allée centrale en fin de parcours. Noëlle Mathis

Day 3 – A life lesson with two elderly women brings joy and a desire to grow old.(en français ci-dessous)Fortunately there are films like “Aunty Sudha Aunty Radha” directed by Tanuja Chandra that contradict what was written the day before. While I was talking about the fate of widows and the possible misery that will accompany their path following the death of their husbands, “Aunty Sudha Aunty Radha” on the screen delights us and transports us into a state of intense joy. The two sisters, aged 86 and 93, are interviewed by their niece in their country house in North India. These two women, one belligerent and rarely satisfied, the other at peace and serene, share their last years, accompanied by a caring staff. Of course, a widow’s life is not the same when she’s had a profession or a wealthy or educated husband. One receives a public pension, the other had a husband who was a doctor. Both teach us life lessons in each scene, including the ability to laugh at life and themselves, or even to make jokes about their respective walking frames. The harmony created around them seems unreal: a beautiful flower garden, quality vegetables, staff always present and attentive, despite the bad temper of one of them. One feels the strength of the collective. They are surrounded, heard, respected. No fear runs through their daily lives, except those created by the agitated mind, something well known to most human beings. In a scene, one recommends to the other to let go of all thoughts, whether they concern the past or the future. This message is delivered in such a way that the audience laughs, so difficult seems the task, and yet this concept is one we must face if we want to live in the present with serenity. Sudha and Radha’s faces are filmed with that intimacy that makes us really meet them. In their company for 49 minutes, we admit that getting older is a little less scary. Knowing them even makes you want to grow old. We are surprised by this observation. The division of the film into numerous interior and exterior scenes maintains a dynamic rhythm, giving it a playful momentum. At the end of the film, producer Anupama Mandloi reveals that shooting over 8 days for 24 hours of film was a wonderful experience, and a life lesson in communal living and laughter. This is what is communicated to the spectators. Nevertheless, the fate of each elderly woman will depend on the life she has led and the opportunities she has had (or not). Even if I want to believe in equality of opportunity, education and a stimulating professional life are essential for each one to lay the foundation stones for the construction of the cathedral along whose central aisle one must walk, at the end of life’s journey. Noëlle Mathis.

Probabilmente non sarò l’unica, gli altri miei colleghi avranno sicuramente scritto o scriveranno in proposito dello stesso film, ma “Aunty Sudha Aunty Radha” è una pellicola che vale davvero la pena di vedere! Il documentario del 2019 diretto da Tanuja Chandra e prodotto da Anupama Mandloi (presente in sala durante la proiezione dell’Auroville Film Festival) è un gioiello prezioso che racconta la quotidianità di due anziane sorelle che vivono assieme in un villaggio nel Nord dell’India, accudite con affetto e devozione da alcuni vicini del villaggio. La regista, nipote delle due arzille sorelle, incuriosita ed ispirata dalla storia delle zie, ha creato un documentario davvero esilarante. Molte le risate e i commenti positivi dalla platea, che a fine proiezione ha potuto partecipare ad una serie di domande e risposte con la Producer. Il film nella sua spontaneità, riesce davvero a trasmettere la gioia del vivere nel momento presente, l’amore incondizionato di chi ti conosce da una vita e sopporta da sempre ogni tuo difetto, la grande potenza dell’ironia e della risata, medicina indispensabile ad ogni età, ancor più necessaria passati i novant’anni!

Aanchal Kapur is one the jury members for the 6th edition of AVFF. She is the founder of Kriti Film Club in Delhi and was here also in 2013 for AVFF. Listen to her interview made by Nadia to discover all the details about the judges’ work and to be inspired by Aancahl’s rich tips about film festival organisation.

Check Kriti Film Club website and social media pages:
https://krititeam.blogspot.com/ 
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Performing on stage gives one a very different perspective on the whole experience of Auroville’s film festival. From stage I could see … absolutely nothing. The lights were too bright. All else was complete darkness. But what I could experience was another of the joys that Auroville can bring. I was joined on stage by the wonderful German saxophonist Gottfried Klier, and we had a truly wonderful time playing together. As another blogger on this site put it, at this festival, Auroville meets the world and the world meets Auroville. Gottfried is a guest in Auroville, and his passion for music has driven him to collaborate with several Aurovilian musicians over the last week, including Tripp & Company last night. It was a real privilege to be able to meet and play with this great musician, and it was all possible thanks to the Film Festival itself, and the tireless efforts of the event organizers. As a performer, one becomes acutely aware of just how much work goes into putting on an event like this, and it is truly humbling. Professional sound engineers and stage managers sound and light crews have given their time and knowledge freely, and without them this event simply could not happen. Huge, heartfelt thanks to each and everyone involved.

Que deviennent les femmes âgées en Inde lorsqu’elles perdent leur mari, lorsqu’elles n’ont pas de revenus, lorsqu’elles ne peuvent plus travailler ? Dans les villes et les campagnes, il nous arrive régulièrement d’être sollicités par des femmes un peu courbées, faisant signe de la main qu’elles ont faim, qu’elles n’ont rien. Quel est leur sort ? Aujourd’hui, deux films tournés dans le Tamil Nadu, « Saints of Pondicherry » de Ogynyan Enev et « Cry Humanity » de Amshan Kumar, répondent à ces questions. Basés sur des faits réels, ils montrent une Inde souffrant de nombreuses inégalités, notamment en ce qui concerne la condition des veuves. Dans « Saints of Pondicherry », Royal, homme généreux d’une cinquantaine d’années, s’occupe d’un groupe de vingt veuves délaissées en les acceptant dignement dans Mahathma Gandhi Home for the Aged in Pondicherry. Cette maison d’accueil fondée par son père adoptif hollandais Albert Zwaan offre un habitat bienveillant à une poignée de femmes. Royal présent lors de la projection est identique à ce qu’on découvre de lui dans le film : il rit, s’esclaffe, essuie les larmes naissant au coin des yeux. Une incarnation de la beauté intérieure dans le don qu’il offre à ces femmes démunies, dans une simplicité et une joie de vivre exemplaire. Le documentaire dépourvu de fioritures a pour objet de faire connaître le travail de la maison d’accueil afin de récolter quelques fonds et peut-être inspirer d’autres bienfaiteurs. On peut le faire en consultant le site www.regainingdignity.org. Mais les innombrables autres femmes indiennes, que deviennent-elles ?Dans le film « Cry Humanity », on comprend la tragédie de ces femmes, pour lesquelles rien ne sera possible. Un fils d’une trentaine d’années tente d’enterrer son père dignement, mais en est contraint de par son appartenance à une caste inférieure. Jugement au tribunal. Recours à la police. Rien n’y fera malgré les articles de la constitution indienne déclarant l’égalité pour toutes et à tous quels que soient l’âge, le sexe, la caste, malgré le recours à la justice, malgré la bataille engagée. Dans la vie comme dans la mort, la famille subit une discrimination scandaleuse. Quant à la veuve, dont la plainte traverse l’écran pour quasiment toute la durée du film, on ne connaîtra son destin, mais on peut l’imaginer. La misère. Une tragédie qui nous concerne tous, tant l’injustice nous éloigne de toute forme de dignité. Noëlle Mathis

The 6th Auroville Film Festival started with the sounds of Mohanam drummers and the presentation of the six women judges. AVFF2020 7th – 12th January

And so the second day of Auroville’s 6^th Film Festival is already behind us. In the afternoon, I betook myself to the SAIIER building for a series of shorter films, firstly a film about SAIIER itself, emphasizing the central role in Aurovilian education of the psychic being – a very important message for all who find themselves in life-long education. What followed was Christoph Pohl’s How to Make Video Art in 4 Easy Steps; an indispensable guide to the medium of video, which all filmmakers really should watch. (Serena Aurora, I’m thinking of you!) After 8pm, the outside cinema showed a most enlightening film, Two Flags, detailing the plight of the French-Tamil citizens of Pondicherry, who numbered 4,000 at the time of filming. The film was centered around the French national elections of 2017.

Personally, the highlight of the evening was the music, from 6.30 to 8pm. The evening began with the soulful reflections of singer songwriter Raquel Jover, a very talented young lady indeed. What followed was a live jazz improvisation, lead by German saxophonist and pianist, Gottfried Klier. Gottfried was a member of the seminal German blues fusion band, Engerling, during the late 1970s, and remains a player, composer and teacher of note to this day. Last night he was joined by Auroville’s Suresh Bascara on drums and Dhani Muniz on bass, as they created a piece live, based around a drone and the opening theme from Aaron Copeland’s Fanfare for the Common Man. It was a truly magical experience. This festival just keeps getting better and better!

Monique Deshors est l’actrice principale du film “Un moment de faiblesse” de Nicolas Paban et Dominique Arquin. Dans cette interview, Monique parle de sa expérience d’actrice, de son travail social et de la question d’incomunicabilité entre ceux qui vivent une vie normale et ceux qui vivent dans la rue.Venez voir “Un moment de faiblesse” le samedi 11 à 16h30 à la salle Saiier.Monique Deshors is the main actress in the film “A moment of weakness” by Nicolas Paban and Dominique Arquin. In this interview, Monique talks about her experience as an actress, her social work and the issue of incompatibility between those who live a normal life and those who live on the street.Come see “A moment of weakness” on Saturday 11th at 4.30 pm in the Saiier room.

“Up Down & Sideways” is a musical portrait of a community of rice cultivators from Nagaland. In this programme Nadia interviews Anushka Meenakshi and Ishwar Srikumar, directors of this beautiful movie and theatre-cinema artists who have lived in Auroville bioregion since a couple of years ago. Anushka is also one of the judges for this edition of AVFF! Come and watch “Up Down & Sideways” on Saturday 11th at 16:46 in Cinema Paradiso, a Q&A session with both directors will follow the screening.

Auroville is a place full of beautiful public buildings and spaces, and one such space is the Town Hall complex. We often go there for administrative and bureaucratic tasks, most of them not much fun. But week is different: the Auroville Film Festival brings a different vibe to the grass fields and gardens of the Town Hall. A space for cultural and artistic encounters has been born.

Through this new window we spontaneously meet new people, new points of views, new ideas. We mingle with each other in an environment that reminds us of the potential of a multicultural, flourishing city. It is so enriching to feel that we can strengthen our community bonds while we maintain our role as part of the bigger world. An International film festival is meant to do just that: to bring the world to Auroville, and Auroville to the world.

From an anonymous volunteer writer at AFF

Per descrivere la seconda giornata del Film Festival mi va di parlare di Two Flags documentario di Pankaj Rishi Kumar, presente nel programma perché parte della categoria sui film riguardanti Auroville e la Bioregion (ovvero il territorio che circonda la comunità), e del breve documentario di Rena sull’Eco Service di Auroville.

Two Flags è in lingua Tamil e Francese, sottotitolato in Inglese; racconta delle peripezie quotidiane di una comunità etnica Tamil esistente a Pondicherry, che possiede la cittadinanza Francese e si prepara alle elezioni presidenziali francesi del 2017. Il film esplora le difficoltà psicologiche, pratiche e burocratiche del riconoscersi come appartenenti ad una bandiera quando etnicamente, linguisticamente e religiosamente si è indistinguibili dal resto della comunità circostante. Molto presente nel film anche il tema della ferita lasciata dal colonialismo, ferita che oggi in qualche modo è ancora aperta e percepibile ad un livello molto sottile.

Lo pronuncio chiaramente, il film è stato lungo e per me non facile da seguire, causa soprattutto della barriera linguistica, ma a modo suo molto interessante e stimolante, perché qui come straniero residente ti fa comprendere cose che a volte sono solo intuibili, e di cui non ho sentito parlare spesso apertamente. E allora la visione di questo documentario muove la mia parte più utopista. Davvero l’Identità di un essere umano può essere solo legata ad una questione di soldi, voti e colori? “Chi sono io?” riguarda davvero solo il fazzoletto di terra in cui nasciamo e il suo apparato burocratico? Forse soprattutto per questo sono stata attirata dagli ideali della Carta di Auroville. Ma se per i più è così, cara umanità abbiamo tutti ancora molto e molto da ragionare e molti e molti rifiuti da smaltire (me compresa). A proposito di rifiuti, il breve racconto di Rena sull’Eco Service ci fa comprendere che anche l’utopica e idealista comunità di Auroville, che già qualcosa di pratico fa, ha ancora molto di più da fare sul tema. E per ciò che posso capire rifiuti interiori e rifiuti materiali tangibili hanno molte cose in comune. Lavoriamoci.

Traversant différents quartiers de Jérusalem, à l’intérieur ou à proximité d’un tramway toujours très emprunté quelle que soit l’heure du jour ou de la nuit, on rencontre des hommes et des femmes pétris de sentiments, de discours, de questions. Ils s’aiment, se déchirent, se comprennent, se disputent, se rapprochent, s’éloignent. La photographie en mode close-up révèle des visages d’une beauté stupéfiante qui miroitent l’expression à la fois extérieure et intérieure de chaque passager lors de sa quête. Les chants, les morceaux de musique, les discours variés accompagnent la traversée. L’écriture de Gitai, grâce à la succession de vignettes relativement courtes (certaines toutefois se trainent un peu) inscrites à différentes heures, sans chronologie cependant, permet la construction du fil métaphorique du transport, toujours en mouvement, toujours en recherche. Chaque passager, de nationalité différente, locuteur d’une ou plusieurs langues – on entend l’hébreu, l’arabe, le français, l’italien, l’allemand, l’anglais –  est porteur d’une pièce du grand puzzle constituant la question de notre existence sur cette planète. La polyphonie issue de la présence des langues, des chants et des discours multiples qu’ils soient politiques, sociaux, spirituels ou intimes, converge vers une recherche de vérité. Quelle vérité et comment y accéder ensemble ? Une certaine analogie avec Auroville. Noëlle Mathis

« It is quarter to five. It is quarter to five. Are we ready ? » Quelques cris en anglais émanent de bénévoles assis devant la scène du Town Hall Plaza qui accueillera le discours d’inauguration du 6ème festival du film d’Auroville. Toute la journée, nous avons aidé avec mille et une tâches, monté la dernière tente carré pour le food festival, embelli la scène de musique, installé le système de son et les fils électriques pour les guirlandes, nettoyé les tables, placé les chaises, rempli les fontaines d’eau filtrée, et maintenant nous savourons un quart d’heure de pause avant le grand début. L’excitation est palpable. Les festivaliers arrivent, se saluent. Les rires fusent. Les sourires éclaircissent les visages. Les présentations faites. Les photographes prêts, appareils photo et caméras en position. 17h. Les percussions arrivent sur scène. Les cinq rangées de chaises sont pleines. Discussions animées en tamil, en anglais, en italien. 17h20. Les percussions commencent. Le silence de l’audience contraste avec la polyphonie joyeuse précédente. 17h25. « Welcome to Auroville 6th Film Festival organized by Cinema Paradiso ». Festival dédié à l’humanité, l’unité humaine et la diversité humaine. Thématique tellement importante dans le monde d’aujourd’hui alors que, de plus en plus, on voudrait réduire les différences, éliminer ce qui fait de l’être humain un être complexe ne serait-ce à travers la grande variété des cultures, des langues, des modes de pensées. C’est bien pour cela que ce texte est écrit en français alors que clairement l’anglais d’Auroville se présente comme la langue commune. 17h50. Présentation des membres du jury de six femmes. Les cinq jeunes percussionnistes vêtus de leur T-shirt blanc ondulent au rythme de leur musique. La cadence s’accélère. Le public siffle et applaudit. 18h. Les cinq jeunes, à partir du son rauque émanant d’un énorme coquillage, telle la sirène d’un navire, invitent le public à le suivre jusqu’à la scène de musique en offrant, avec une fluidité surprenante, l’espace au pianiste Yuri et au batteur Hunter. La musique planante contraste avec les percussions. Groove. Noise Jazz. Les deux musiciens engagés, dans un échange de regard constant, alternent rythmes et cadences alors qu’une demi-lune en forme de coque sur l’océan monte dans le ciel. Une profonde joie émane du duo qui la transmet au public attentif. Noëlle Mathis

Ayer estuve en una sala de cine, dentro de un grupo de seres humanos. Que alegría estar en una sala de cine llena, junto a un grupo de personas muy diferentes para disfrutar.

En la sala había tanta gente que algunos vieron la película sentados en el suelo, sin que nadie se quejase o viniesen a echarlos por algún tipo de norma de “seguridad”.

Ever Slow Green nos invitó a pasear por los bosques de Auroville y conocer a los seres humanos que han plantado, cuidado y siguen manteniendo esos bosques de una forma común, con una intención común.

Ver la belleza de la naturaleza, en tan solo 50 años un espacio, aparentemente sin vida, se ha transformado en un lugar lleno de seres vivos compartiendo existencia.

Ahora las amenazas se acercan a ese espacio lleno de vida por parte del “progreso”, amenaza en forma de autopista que dañaría de forma clara esta maravilla de la creación.

Un precioso mensaje para que podamos recordar, volver a pasar por el corazón. Ocuparnos de regenerar la naturaleza, que es importante ,como bien explica en su libro un buen amigo Daniel Christian Wahl.

Y ocuparnos de la regeneración de “ser humano”, vivir vomo humano siendo como parte integrante de la Tierra.

Regenerar nuestros corazones con la paz necesaria.
Tiempos de seguir el corazón que siempre nos lleva a la calma.

No sabemos que sucederá, aunque conocemos ahora de nuevo que sucede cuando un grupo de seres humanos se une con una intención común.

Todo es posible junto al Espíritu.

Enhorabuena Christoph,
Enhorabuena Auroville.

Una delle cose che più mi piace di Auroville, è partecipare a quegli eventi che mi diletta definire “Eventi di Comunità”. Li chiamo così perché sono eventi a parte, un po’ speciali. Quando ti ci ritrovi dentro, aiutando con l’organizzazione o semplicemente partecipando a giochi fatti, la famosa “Unity in Diversity” la puoi toccare, respirare, vivere. E allora quel “di Comunità” per me non rappresenta solo Auroville ma qualcosa di più esteso.

L’Auroville Film Festival è dunque iniziato e lo si può chiaramente percepire che per organizzare tutto questo tante persone assieme hanno donato il loro impegno e il loro amore, persone da tutto il mondo, Aurovilliani certo, ma non solo. Tutte loro hanno collaborato assieme e investito le loro forze e il loro tempo per creare ed offrire ad altre persone l’opportunità di riunirsi assieme e godere di buon tempo da spendere in compagnia di ottime pellicole cinematografiche, (e molto altro). 

Il primo film del Festival che ho scelto di vedere è stato proprio un film dedicato ad Auroville e in particolare alla sua foresta: “Ever Slow Green” di Christoph Pohl.

Dentro al Cinema Paradiso moltissimi sono di qui, lo puoi capire dalle risate, dal commentare allegro in sottofondo, e anche dagli applausi scrocianti (e meritati) alla fine. Moltissimi conoscono personalmente i protagonisti della storia, riconoscono i luoghi, i suoni e possono facilmente immaginare e sentire perfino gli odori provenienti dalla foresta. Ed è bello, perché è un’esperienza sinestetica, totale, di comunione. Un’esperienza che ti fa sentire Parte, che tu sia Aurovilliano o meno, perché i valori espressi attraverso le immagini e il racconto dei protagonisti del film, sono valori universali. E allora questo film, come l’Auroville Film Festival, non è più solo un semplice “Film sulla comunità” ma un “Film di Comunità”, bello non solo per chi ri-conosce e ne ha esperienza, ma per tutti, un film di speranza nella possibilità di un mondo più verde e migliore.

The sixth edition of Auroville Film Festival, with ‘Ever Slow Green’, opened talking about a fundamental side of Auroville’s history: the forests. Sometimes we forget that here, where now there is a tropical forest, there was once an arid desert. The film reminded us what really has been done here, and what we can really do in this world.
While the camera gently flows into the green, the testimonials, the histories of the people that came here in ‘68 and created this place, knowing nothing about afforestation or farming, but united by pure and strong intentions, make us look backwards with pride and – something extremely rare in an era where the world fears the future – with hearts that dream of what this place will be in a hundred years.

This film at Cinema Paradiso was followed by ‘The Departure’, an Indian short-film by Pratim Dasgupta, which reminded us how much work there is still to do about human rights, especially in this country where the disparity between men and women is still huge. But even when we are about to lose hope, this film, through the power of human contact, takes us by hand and makes us dream. It reminds us of the importance of stories. To laugh, to cry, but more than all, to become conscious of what’s beyond our personal field of vision. Likewise the film that closed the first day of the festival, ‘Styx’, took us into the heart of one of the biggest human crises of our era: the indifference and inhumanity towards the migrant and refugee situation. Bringing us there, bringing us into the core of the dilemma, it posed the question: what can I do? Can I really just pass by and do nothing? With all the risks and fears that taking an action involves, it shows us how much each person can do. And this is the feeling that this first day of the festival leaves with me: remembering the power of our actions, how much a single person can do. But it also emphasised the importance of dreaming, of stories and the role of cinema.

This festival, more than just a showcase of beautiful artworks, was a bridge that connected realities, memories, dreams and people. Human unity, more than being just a theme, was the goal, and the festival itself is a way to achieve it together.

I arrived at the 6^th Auroville Film Festival as the sun was sinking behind the trees, and everything was already in full swing. The band stand reminded me a little of Ok Jeong’s recent Upcycling show in Citadines’ Centre des Arts, in it’s recycled aquatic artistry. The turquoise backdrop on the stage glowed like an octopuses garden as the night drew in, and the first musicians on, Jurriann on keys and Hunter on drums, furthered the feeling, creating liquid jams of swirling music, delighting the audience. The food on offer was also a delight to behold. The Food Festival will be offering cuisine from across the world, with a different theme each night. Starting with the home food of South India, the journey has only just begun. Café Le Morgan is open at the Town Hall too, and decked with rainbows, lights and a flying moose! There are smaller snack bars here and there too.

This is my second AVFF, and I have to say that the organizers have done a grand job in topping the last one. The layout of the whole festival – films, music, food and art installations – seems much more orderly, and in a good way. The covered seating for both dining and watching the bands is great. One word of advice to festivalgoers, though: if you want to see a film, get there early! Seating is limited, particularly in Cinema Paradiso.

As the clock struck 05:00, the Town Hall slowly transformed into a festive mood and hundreds gathered in front of Le Morgan Cafe for the inauguration of the 6th edition of Auroville Film Festival. Young drummers from Mohanam exited the audience with their wonderful drumming session, as Krishna and Sasi introduced the festival in between. The coloured lights surrounding Cinema Paradiso, and live music jamming followed by Noize Gate’s (band) performance added a carnival like ambience and huge crowd flocked around to taste the first day’s menu at the food festival sponsored by Anveshan.

The screening started at 08:00 and 7 movies were distributed in two different locations, outdoor, (in front of Financial Service) and indoor, Cinema Paradiso. The outdoor screening was an exceptional experience as many watched movies laying on the grass and munching on some food. The first day of the festival rolled on with extreme fun, remarkable movies and was a ceremonious gathering for all of Auroville. 

Finally, the film season is here! The 6^th Auroville Film Festival starts today and I’m as excited and confused as one of these little fellows. It feels a little bit like the day before Christmas, and Cinema-Santa is bringing many gifts this time! Tens of short films and longer films from morning till evening for 6 full days, music performances every day, art exhibitions and international food every night alongside the movies. I feel like an overwhelmed child surrounded with stimuli. The best will be to just flow and chose what to watch from the heart, not listening too much to my monkey mind. Mother would be proud of me. (At least my mother…)

from an anonymous volunteer writer at the AFF.

Photo: from art installation by Orly, at Town Hall

This is the new world and this is the new consciousness and this is the new Power; it is possible, and it is, and will be more and more manifest BECAUSE it is the new world, because it has never been before. ~ The Mother~

Inspired by the words of Auroville’s founder “The Mother”, and her vision; “A new world is possible”. Orly Alon Merguei, has created a miniature village of altered old brushes people, by-products of a throw-away society, the worn-out brushes have been transformed into charming and memorable characters. Portraying people with diverse backgrounds; race, religion, social class and gender, representing an international community.

Please enjoy the latest teaser for the Auroville FilmFestival and get some clues of what to expect!

4 janvier 2020. Aujourd’hui, l’installation artistique the Fabulous Moose de Lili Dreikhausen et Marco Feira a été montée. Un élan fabriqué de ficelles et de bouts de branches survole le Town Hall Plaza. Surmonté d’un long arc-en-ciel cousu de tissus de multiples couleurs et textures, agrémenté de petites lumières. Ce qui est fascinant dans la langue française, c’est la polysémie des mots. Moose se traduit par élan. L’élan du Nord, le caribou, symbolise les contrées de neige. Il ouvre l’imaginaire, suscite toutes sortes d’histoires. Celle de nos enfances lorsque nous croyions à la magie de l’hiver et aux rencontres lumineuses au détour de forêts sombres. Dans cette installation, tout est présent : magie, imaginaire, histoires. Un élan au cœur d’Auroville, le symbole des histoires que l’on raconte, des histoires que l’on se raconte. L’importance de l’imaginaire et du partage au-delà les frontières, au-delà les cultures. Mais c’est aussi l’élan à l’origine du saut, du mouvement, de l’action. L’élan est celui nécessaire qui nous propulse dans un autre état, une autre dimension, si on veut bien quitter le connu, si on veut bien rêver, si on veut bien imaginer. Cela demande de la curiosité et de l’ouverture. Et l’arc-en-ciel qui l’accompagne d’un bord à l’autre, lui aussi trouve son origine dans cet imaginaire, cette capacité humaine à rassembler de part et d’autre ceux et celles qui veulent bien croire et œuvrer vers plus de lumière, plus de rêve, plus d’enfance ensemble. Merci à Lili et à Marco pour leur rêverie intacte. Noëlle Mathis

Marco is proud to present… This year’s awards! Thank you very much Michel from Flame Pottery Auroville for creating this year’s gorgeous handmade Film Festival awards. His unique creations will pass from artist to artists during the closing ceremony on the last day of the festival.

Enjoy some pictures of Piero during the set up of Lili&Marco’ art installation: ‘The Rainbow and the Moose’.

Who is Dhamu?” is Richa’s and Rrivu’s latest movie, a portrait of Auroville’s bioregion landscape. During this interview they tell Nadia the reasons that brought them to shoot and produce a movie where local Tamil culture meets social education and traditional performative arts. Enjoy the screening of this film on Thursday 9th Jan at 20:00 in the outdoor venue.

To make sure you can enjoy the food, please get your Food Festival tickets outside Solar Kitchen on Sunday 5th and Monday 6th of January from 12.00 to 1.30 pm.

Or write an email anveshan [at] auroville.org.in

You sign up?

Julietta Kuehle – The Corpse Bride in the Centre d’Art Citadines video room

“Being a fan of movies by Tim Burton, I once came across the animated film ‘Corpse Bride’ and instantly knew there was a connection. 

I started pottery in Auroville, making small faces and heads. They grew bigger with time, they were somehow born, wanting to look as they decided to look. The figures from the movie called to be materialized. So I began to let them come into existence. Emily, the Corpse Bride, was the final piece.”

About the film ‘Corpse Bride :

Kirk Honeycutt (The Hollywood Reporter): “A wondrous flight of fancy, a stop-motion-animated treat brimming with imaginative characters, evocative sets, sly humour, inspired songs and a genuine whimsy that seldom finds its way into today’s movies.” 

For more information about the film, see https://en.wikipedia.org/wiki/Corpse_Bride 

Orly in the Town Hall Foyer

“This is the new world and this is the new consciousness and this is the new Power; it is possible, and it is, and will be more and more manifest BECAUSE it is the new world, because it has never been before.” ~ The Mother

Inspired by the words of Auroville’s founder ‘The Mother’, and her vision; ‘A new world is possible’, Orly Alon Merguei has created a miniature village of altered old brushes, by-products of a throw-away society. The worn-out brushes have been transformed into charming and memorable characters, portraying people with diverse backgrounds; race, religion, social class and gender, representing an international community.

For a video impression, see https://www.youtube.com/watch?v=NQ7RwfR9wG4&feature=youtu.be

Lili Dreikhausen and Marco Feira – The Rainbow and the Moose in the Town Hall Plaza

‘The Moose’ is a sculptural installation made with coconut rope around a wire mesh structure mounted on an wooden armature. It was first shown at an exhibition in Auroville in March 2018. It is combined with a two dimensional work of Marco, called ‘Rainbow’ made out of waste material and lights.

Milo – Planet Unity, opposite Cinema Paradiso (MMC)
The ‘Planet Unity’ cutout installation aims to add a bit of fun as well as publicise the film festival, encouraging people take and publish pictures of themselves with it. Juggling with various options,  finally a group of genderless characters were chosen. ‘Planet Unity’ shows a tree with a colourful bird perched on it’s branch, sharing a forest scene with a blue child hanging on the back of a sitting zebra. 15 year old Milo conceived and painted the panels over the course of two weeks. 

Come and enjoy the music performances every day at 6.30. From Hard Rock to Bossa Nova, Funk to Singer-Songwriter, there’s something for everyone this year.

Just check the performance schedule and enjoy, while having your dinner at the Film Festival!

(and don’t forget to come to the opening and closing ceremonies for some great performances as well…)

Use a QR code reader fo the QR code below or go to https://app.vc/avff on your mobile and click ‘Add Button to Home Screen’.

HOW TO INSTALL IN YOUR MOBILE IOS
Go to https://app.vc/avff on your mobile and click “Add Button to Home Screen in the pop up menu