This film is the result of work developed with children, around the mass displacement of human beings in search of peace. We follow a character who, faced with a conflict, fragments, beginning the search for his parts. He will encounter many obstacles throughout this search, in the hope of being able to reach his whole. Although the journey becomes a lonely process, the destination can prove to be supportive.
Blending science and poetry, the narrator reveals lost aromatic landscapes and memories. Based on two years of research into e-nose and Headspace technologies (collaborating with Japanese firm Takasago International Fragrances), the film speculates on new sensory relationships through aroma technologies. Part of a wider cross-disciplinary research project exploring aroma sensing and electronic nose technologies and ways in which they might assimilate into our cities to sense atmospheric information. The script shifts from molecular precision to poetic abstraction, blurring technology and human perception in a speculative language of memories coded in aroma.
Successively erased, covered over, she recounts intimate moments of her life. As the story emerges, and through the unspoken, a portrait of her relationship with a little too close friend takes shape.
The film presents gaps as institutional tools that reproduce exclusivity (after Sara Ahmed). Combining critical theory with narratives of marginalization and discrimination gathered through research interviews, the essay film offers an intersectional understanding of how whiteness is actively reproduced in our everyday environments. In addition to outlining the cultural-historical context of Finland, the film highlights the Academy of Fine Arts at the Uniarts Helsinki as a case study—examining the gap between its outwardly promoted policies and the reality of their implementation, as well as the institution’s exclusionary culture and discriminatory practices, drawing from the lived experiences of marginalized students.
In 19 vignettes, the film traces the convergence of cinema’s separate forms, revealing the origins from which they emerge by stripping them of their modern use.
A Woman anxiously awaits a man’s call to feel desired. A Woman and Another Woman- who could be many others, or even the same one—cross paths in the bathroom of a bar that could be like so many others.
Where no one ever dreamed, a man awakens with memories of somewhere. He tries to explain them through fragments of memory, but reality seems to already know the answer he is looking for.
After forcing Viola to cry like a baby before feeding her, Talia interprets those tears as a trigger for her twisted sense of motherhood. Even after feeding and “caring” for Viola, she punishes the girl for not following her obsessive rules about how a baby should behave. Viola endures days filled with pressure, absolute control, and a strict system that forces her to think and act like a real infant, while recognizing Talia as the “mother” she must obey completely. Every rule broken brings harsh punishment, followed by Talia’s disturbingly gentle affection. In her obsessive embrace, Talia breastfeeds Viola, lulling the frightened girl into sleep like a baby surrendering to false warmth and comfort. To Talia, this isn’t cruelty, it is a routine of love, domination, and obsession that she believes is her own version of “motherhood.