{"id":1943,"date":"2023-03-07T11:42:28","date_gmt":"2023-03-07T10:42:28","guid":{"rendered":"https:\/\/unarchivefest.it\/no-place-like-home\/"},"modified":"2023-04-26T13:26:22","modified_gmt":"2023-04-26T11:26:22","slug":"no-place-like-home","status":"publish","type":"page","link":"https:\/\/unarchivefest.it\/en\/no-place-like-home\/","title":{"rendered":"NO PLACE LIKE HOME"},"content":{"rendered":"

[vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”115430″][vc_column column_width_percent=”100″ gutter_size=”1″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”144124″][vc_single_image media=”634″ media_width_percent=”100″ uncode_shortcode_id=”268825″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”115430″][vc_column column_width_percent=”100″ gutter_size=”1″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”479443″][vc_column_text uncode_shortcode_id=”148453″]<\/p>\n

NO PLACE LIKE HOME<\/h1>\n

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Louise Bourque\u2019s film<\/h3>\n

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A selection of the Canadian director’s films, chosen by Andr\u00e9 Habib professor of the Universit\u00e9 de Montr\u00e9al.
\nSpecial screenings in 16mm and 35mm film.<\/h5>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text uncode_shortcode_id=”747299″]<\/p>\n

may 8<\/span>
\n20:00<\/span>
\nCinema Intrastevere<\/span>
\nmovie theater 1<\/span>
\nMeeting with the author (remotely)<\/span>
\nIntroduced by the curator<\/span><\/h4>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”0″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”187932″][vc_column column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ uncode_shortcode_id=”269404″][vc_separator sep_color=”color-wvjs” type=”dotted” uncode_shortcode_id=”202264″ sep_color_type=”uncode-palette” el_height=”10″][vc_column_text uncode_shortcode_id=”155655″]Since the beginning of her career, French-Canadian filmmaker Louise Bourque has made the re-use of her own images and home movies (some of which were shot before she was born) an essential and moving part of her creative work. In addition to the notable presence of her own parents, her mother in Just Words<\/em> (1991), her second film, and her father in Bye Bye Now<\/em> (2022), her last film to date, it is above all the central theme of the \u201chome\u201d that attracts attention and seems to possess an obsessive charge that runs through her work (this is the thematic around which this program was elaborated).<\/p>\n

This house where she was born, in Edmunston, New Brunswick (and which still belongs to her family), becomes, throughout her films, the very place of haunting, of trauma, of fragility, of the pain of memory. It was in the garden of this house that she buried the outtakes of her first films, which, once unearthed, would give rise to the dazzling Self-Portrait Post-Mortem<\/em> and Remains<\/em> In all these films, she allows us to explore the abysmal depth of this expression, “No Place Like Home\u201d. If no place can compare to home<\/em>, it is also because home is not always the hospitable place we want it to be. Home is not always a place we want to return to. This is why “going back home”, far from any nostalgia, has the sound of a broken lullaby and appears, in all her films, as a process of confrontation with these wounds, often invisible, which fragment the self and which the manipulated filmstrip manages to metaphorize: the work of mourning is never completed (hence the role of repetition in several of her films). The photochemical, optical and plastic manipulation techniques that Bourque applies to these images give them an aura of intranquility, far from the often falsely reassuring character of the home movie (and of the peaceful “home” they evoke) as a place of innocence and happiness. Through a meticulous, “hands on” approach that explores the material properties of film, she offers us works that, by making a poetic archaeology of her own history, unearth, expose and release powerful blazes of light, noise and color, leaving lasting imprints<\/em> on each viewer.<\/p>\n

Andr\u00e9 Habib, 2023[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”660839″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”642″ media_width_percent=”100″ uncode_shortcode_id=”696234″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”192678″][vc_column_text uncode_shortcode_id=”103493″]Just Words<\/span><\/strong>
\nCanada \/ 1991 \/ 10′ \/ 16mm
\nITALIAN PREVIEW<\/strong>[\/vc_column_text][vc_column_text uncode_shortcode_id=”197032″]””In JUST WORDS<\/em>, Bourque intercuts footage of her mother and her sisters with a performance by actress Patricia MacGeachy of Samuel Beckett’s Not I<\/em>; the result is unnerving (as all Beckett is) yet touching (as some Beckett is not).” (Jay Scott, The Globe and Mail, Toronto, 1992)” (<\/i>Jay Scott, The Globe and Mail, Toronto, 1992)[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”762″ media_width_percent=”100″ uncode_shortcode_id=”318841″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”105649″][vc_column_text uncode_shortcode_id=”208950″]Imprint<\/span><\/strong>
\nCanada \/ 1997 \/ 14′ \/ 16mm
\nITALIAN PREVIEW<\/strong>[\/vc_column_text][vc_column_text uncode_shortcode_id=”241788″]Louise Bourque’s Imprint<\/em> focuses obsessively on home-movie images of her family\u2019s house, which seems gloomily oppressive, almost filling the frame; she repeats the images with various alterations – tinted, bleached, partly scraped away – as if attacking the place, turning its darkness into light.
\n(Fred Camper, The Reader, Chicago, april 16 1999).[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”644″ media_width_percent=”100″ uncode_shortcode_id=”159165″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”192678″][vc_column_text uncode_shortcode_id=”203041″]Fissures<\/span><\/strong>
\nCanada \/ 1999 \/ 2′ 30” \/ 16mm
\nITALIAN PREVIEW<\/strong>[\/vc_column_text][vc_column_text uncode_shortcode_id=”110363″]A film about forgetting and remembering, about past presences and the traces they leave. n making this piece, Bourque literally distorted the personal home movie images appearing on the film plane through various manipulations in the process of doing her own low-tech contact printing. The point of contact in printing is continuously shifted so that the film plane appears warped and the images fluctuate, creating a distorted space of fleeting apparitions, like resurfacing memories. The footage was hand-processed and solarized as well as colored by hand through toning before a final print was made at the lab.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”763″ media_width_percent=”100″ uncode_shortcode_id=”990486″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”105649″][vc_column_text uncode_shortcode_id=”128582″]Remains<\/span><\/strong>
\nCanada \/ 2011 \/ 4′ 50” \/ 16mm
\nITALIAN PREVIEW<\/strong>[\/vc_column_text][vc_column_text uncode_shortcode_id=”177132″]The mother figure revisited \u2013 a recurring theme in my work. A celluloid deterioration that addresses the ephemeral quality of the captured moment (the present) while revealing the insistent power of human presence in even the most deteriorated of states. The image of the mother is like a ghost that we won’t let go. A lament for the inevitable loss of legibility.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”764″ media_width_percent=”100″ uncode_shortcode_id=”109899″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”192678″][vc_column_text uncode_shortcode_id=”213129″]Going Back Home<\/span><\/strong>
\nCanada \/ 2000 \/ 1′ \/ 35mm
\nITALIAN PREVIEW<\/strong>[\/vc_column_text][vc_column_text uncode_shortcode_id=”100088″]Turmoil of unsheltered childhood: the dwelling as self.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”783″ media_width_percent=”100″ uncode_shortcode_id=”483791″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”105649″][vc_column_text uncode_shortcode_id=”103766″]Self Portrait Post Mortem<\/span><\/strong>
\nCanada \/ 2002 \/ 2′ 30” \/ 35mm
\nITALIAN PREVIEW<\/strong>[\/vc_column_text][vc_column_text uncode_shortcode_id=”713498″]An unearthed time capsule consisting of footage of the maker’s youthful self \u2013 an \u201cexquisite corpse\u201d with nature as collaborator. Bourque buried random out-takes from her first three films (all staged productions dealing with her family) in the backyard of her ancestral home (adjoining the grounds of a former cemetery) with the ambivalent intentions of both safe-keeping and unloading them (she was relocating). Upon examining the footage five years later she found that the material contained images of herself captured during the making of her first film. That discovery seemed handed over like a gift and prompted the making of this film, a metaphysical pas-de-deux in which decay undermines the image and in the process engenders a transmutation.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”375283″][vc_column column_width_percent=”100″ gutter_size=”3″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”128388″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner limit_content=””][vc_column_inner width=”1\/2″][vc_single_image media=”786″ media_width_percent=”100″ uncode_shortcode_id=”579680″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”192678″][vc_column_text uncode_shortcode_id=”406582″]L’\u00c9clat du mal \/ The Bleeding Heart of It<\/span><\/strong>
\nCanada \/ 2005 \/ 8′ \/ 35mm
\nITALIAN PREVIEW<\/strong>[\/vc_column_text][vc_column_text uncode_shortcode_id=”709127″]The house that bursts; the scene of the crime ; the nucleus. A universe collapses on itself: all hell breaks loose.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”color-wvjs” uncode_shortcode_id=”939575″ sep_color_type=”uncode-palette” el_height=”1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image media=”787″ media_width_percent=”100″ uncode_shortcode_id=”113959″][\/vc_column_inner][vc_column_inner column_width_percent=”100″ gutter_size=”2″ overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/2″ uncode_shortcode_id=”105649″][vc_column_text uncode_shortcode_id=”582273″]Bye Bye Now<\/span><\/strong>
\nCanada \/ 2022 \/ 8′ \/ 35mm[\/vc_column_text][vc_column_text uncode_shortcode_id=”172190″]<\/p>\n

Waving hello to the filming cameraperson, the subjects through this very gesture, are also providing a future viewer with the acknowledgment of a constant good-bye to a fleeting moment. Yet when the film is projected and the captured gesture is seen, it’s as if the subjects are saying hello again from the past. This film is an homage to the artist’s father, the man behind the camera in these personal family archives.<\/span><\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_separator sep_color=”” uncode_shortcode_id=”517819″][vc_column_text uncode_shortcode_id=”570469″]Louise Bourque<\/strong><\/p>\n

Louise Bourque is a French-Canadian Acadian filmmaker who studied film at Concordia University in Montreal and at the School of the Art Institute of Chicago. After a 30-year exile in the United States where she made films and taught, she recently returned to Montreal. Her films have been screened in some 50 countries and broadcast on PBS and the Sundance Channel in the United States, as well as on T\u00e9l\u00e9-Qu\u00e9bec in Canada and SBS in Australia. Her work has been shown in prestigious museums and galleries around the world, including the Mus\u00e9e de la Civilisation and the Mus\u00e9e national des beaux-arts du Qu\u00e9bec in Quebec City, the National Gallery of Art in Washington, D.C., the Museum of Modern Art and the Whitney Museum of American Art in New York. Her latest film, Bye Bye Now<\/em>, had its world premiere in Bologna at the Archivio Aperto festival. In 2021, the book Imprints: the films of Louise Bourque<\/em>, edited by Clint Enns and Stephen Broomer, was published, the first monograph devoted to her work, bringing together texts by international researchers and renowned filmmakers.<\/p>\n

From 1989 to today, Louise Bourque has made a major contribution to the history of Canadian and international experimental cinema. An alchemist of film, a filmmaker of the intimate, revisiting from film to film the ever-paradoxical place of the home, of the self-portrait, of home movies through a rigorous investigation of the materiality of film, Bourque offers us an essential, radical work of abrasive beauty. Her essential films include (2022). The People in the House<\/em> (1992), Imprint <\/em>(1999), L’\u00e9clat du mal<\/em> (2000), Self-Portrait Post-Mortem<\/em> (2002), Self-Portrait Autoportrait PostPartum <\/em>(2017) and Bye Bye Now<\/em> (2022).[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_separator sep_color=”” uncode_shortcode_id=”517819″][vc_column_text uncode_shortcode_id=”147375″]Andr\u00e9 Habib<\/strong><\/p>\n

is<\/span> an associate professor in the Department of Art History and Film Studies at the University of<\/span> Montr\u00e9al.<\/span> Author of<\/span> La main gauche de Jean-Pierre L\u00e9aud<\/span><\/i> (Bor\u00e9al, 2015) and<\/span> L\u2019attrait de la ruine<\/span><\/i> (Yellow Now, 2011), since 2002 he has been co-editor of the electronic magazine<\/span> Hors champ<\/span><\/i> which he has directed since 2015. Furthermore, he is the creator of the platform for audiovisual creation and reflection Zoom Out and the Cadavre exquis project. His research focuses on the aesthetics of ruin, cinephilia, archives and experimental cinema, and more recently on nostalgia, retro and the history of techniques. He cured variouse thesys sui cineasti Louise Bourque, Pierre H\u00e9bert, Abbas Kiarostami, Ernie Gehr, Bill Morisson, Jean-Luc Godard e Chris Marker. As a member of the international partnership project TECHN\u00c8S, he was responsible for the television series <\/span>Connaissance du cin\u00e9ma (2016-2018). <\/span><\/i>(2016-2018). He is the co-director of two works which will be published in 2023, <\/span>Le cin\u00e9ma dans l\u2019\u0153il du collectionneur (<\/span><\/i>Presses de l\u2019universit\u00e9 de Montr\u00e9al) <\/span>\/ Cinema in the Eye of the Collector <\/span><\/i>(Amsterdam University Press), he\u2019s working on a book about cinema based on reuse and archives, which will be published in 2024 by the Mimesis publishing house. <\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ override_padding=”yes” h_padding=”2″ top_padding=”2″ bottom_padding=”2″ overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”577654″][vc_column width=”1\/1″][uncode_share layout=”multiple” bigger=”yes” separator=”yes” css_animation=”bottom-t-top” title=”share”][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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