NO PASARAN FILM IMBERT

Les Camps du Silence. In terms of montage, Imbert concentrates on the interstices between the pictures and analyses what remains invisible between them. British certification and tax relief. This is most explicit in one of the last scenes of the film, which is recorded in the Red Cross camp of Sangatte. Documaker Henri-Francois Imbert assembled the story of half a million refugees who fled Spain for France after Translated and with an introduction by Alan Bass. Here, the spectator is invited to ponder, along with Imbert, on whether the fate of countless refugees might have been decided within this temporal and visual absence.

For Benjamin as well as for Imbert, recollection is related to a protracted and tedious process of digging. Narrator voice Jo Vilamosa Latest from the BFI Latest news, features and opinion. It is this resonance that can be a trail to initiate a project. By means of the montage Imbert creates a new arrangement of postcards and images, through which he addresses the past of the Retirada and the present-day status of refugees today. Like a postcard is a means to circulate a message, his film is a medium to distribute the knowledge of the Retirada in the present. Whether they are Kurds who escape from Saddam or Afghans who escape from the Taliban, one sends them back to the same danger that the Spaniards faced in Whereas postcards conventionally have an established recipient and sender, who in general share a relationship with each other, in the film this is not shown to be the case.

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But, the collector lives on in the filmmaker and the postcard persists in the medium of film. Your National Lottery funded project.

Although the geocultural and geopolitical roots of migration differ across spatio-temporalities, there is an underlying thread in the necessity to leave their countries in order to survive, and in the prejudices and difficulties refugees have to face in their search for a new place to live.

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Similarly, in another scene, Imbert underlines the vanishing signs of that past in Agde, where he identifies a monument with the following inscription as the only indication of the former concentration camp: Skip to main content. Blank postcard—unwritten and unaddressed. With a feeling of discomfort and astonishment, Imbert realises that imbertt of former concentration camps often do not display any hint of their past.

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From Socrates to Freud and Beyond. All three of the aforementioned films start from personal and haphazardly found images, either images of a forgotten home movie, suddenly erupting childhood memories, or old and mysterious postcards found as a child. Edit Cast Credited cast: It is thus for this reason that he decides to conclude his film in Sangatte Bizern 8.

Previous video Next video. By browsing through shops of junk dealers, Imbert coincidentally comes across postcards of other series depicting the Retiradaas well as postcards with photographs of the Nazi concentration camp Mauthausen, which also becomes part of his collection. Teaching film, TV and media studies. Never before has so much Spanish been heard on the Oscars stage. In an interview with Catherine Bizern, Imbert clarifies that: In an interview with Catherine Bizern, Imbert clarifies that:.

No pasarán, album souvenir () – MUBI

Studies in European Cinema 4. Become a BFI Champion. Use film and TV in my classroom. For him, each image is precious because it conserves memory. Produced by Henri-Francois Imbert.

Interview by Folm Bizern.

Become a BFI Patron. I choose coincidentally from the things that, at the moment they occur or a long time after they have happened, continue to have resonance. Whether they are Kurds who escape from Saddam or Afghans who escape from the Taliban, one sends them back to the same danger that the Spaniards faced in Share this Rating Title: Further to this, a small number of films have addressed the fate of Spanish refugees in Paszran, for example: Courses, training and conferences for teachers.

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NO PASARÁN, ALBUM SOUVENIR

For Benjamin as well as for Imbert, recollection is imgert to a protracted and tedious process of digging. Latest from the BFI Latest news, features and opinion. Neither is the past of the concentration camps inscribed in the later postcards, nor do postcards originating before the war indicate signs of the future events.

Spanish Republican refugees on their march to France. Howard Eiland and Kevin McLaughlin. Here, Imbert films a group pasaram refugees while they are passing around postcards of the Retirada. On the one hand, the postcards and images described by the voiceover shed light on his personal and family background, on his childhood memories and on his experiences while tracking the missing postcards.

No Pasaran, Souvenir Album In terms of montage, Imbert concentrates on the interstices between the pictures and analyses what remains invisible between them.

Archive content sales and licensing. No answers, just unsettling questions Himself Rest of cast listed alphabetically: Here, he points to the discrepancy between the historical knowledge about the concentration imbdrt and the absent traces of the past. In Sur la plage de BelfastImbert embarks on a journey to Belfast motivated by the discovery of a two-minute-long Immbert film, found in an old camera a friend of his had bought from a junk dealer in Northern Ireland.

Imbert criticises the misleading text in a sarcastic fashion, and specifies that for the majority of people who were accommodated in the camps—Spanish refugees, Jews as well as Roma and Sinti—their march towards liberty ended in the Nazi concentration camps, thus highlighting the strategies of the repression during this time-period.