The 13th edition of the One World Romania festival will be held between the 20th and the 29th of March in Bucharest: this year’s edition returns with some of the classic sections concerning the rule of law, the place of women in various societies of the world and the status of refugees.
The reason why these themes come back each year is that the issues they are addressing are defining for our era and, at the same time, their complexity incessantly increases. The geopolitical changes, the evolution of the mentalities, the global economic balance have profound, unexpected and sometimes contradictory repercussions on them, and art, particularly documentary film, remains among the best ways to assess these unstable situations.
The section dedicated to the rule of law will be extensive this year, comprising five films that explore the judicial and prison system, historical traumas and current conflicts located on four continents. This year, South America, in continuous political turmoil, will be in focus through two films, The Visit (La Visita, directed by Jorge Leandro Colás) and Seven Years in May (Sete anos em Mayo, directed by Alfonso Uchôa). Both choose to present intimate and emotional perspectives on problems which are at the very root of the instabilities in the region: delinquency and the totally inadequate and sometimes even criminal response of the authorities. The audience of One World Romania will also discover another facet of Israel, through a lawyer fighting for the Palestinian cause, and the grim political situation in the Philippines, where state organs commit crimes under the guise of the war on drugs, in Advocate (directed by Rachel Leah Jones and Philippe Bellaïche) and Aswang (directed by Alyx Ayn Arumpac) respectively.
The feminist movement has gained unprecedented visibility over the past two years with the #MeToo phenomenon. Renowned cases, such as Harvey Weinstein's, have caught the attention of the general public, but the films in the section speak of anonymous experiences, disparate but essential fragments which reconstruct the long story of gender inequalities, a story whose end we begin to see. One of the representative films of the section is Yours in Sisterhood, directed by Irene Luzstig, whose topic is the progress made in the last fifty years in this complex issue. In the film, dozens of women read letters sent by other women, half a century ago, to Ms. Editorial, the first mainstream feminist magazine in the United States. In some cases, the suffering described by the women of the past, caused by the sexist expectations that the society had from them, provokes strong emotions, but most of the time, what stands out is the courage these women show, courage that led them to change society for the better. But beyond the undeniable advances of the feminist cause, many abuses remain unpunished because defining and implicitly punishing them is extremely difficult. The film That which does not kill (Sans frapper, directed by Alexe Poukine) discusses the diverse aspects of rape through testimonies of both victims and aggressors, revealing that it can take unforseen forms.
The section on refugees aims to illustrate all the phases of migration, from the dramatic departure from the country of origin, through the transitional period spent waiting for the right of residence in the host country and to exile itself, the difficult process of adaptation to an unknown and often hostile culture. The first stage is captured through a very personal perspective in the film Midnight Traveler, directed by Hassan Fazili, by means of raw images captured with the filmmaker's Iphone, who was forced to flee Afghanistan with his family when the Taliban condemned him to death. The anguish and precariousness that characterise the transitional period are at the center of Abbas Fahdel and Rami Farah's films, Bitter Bread and A Comedian in a Syrian Tragedy. A possible end to this journey is presented in Le Pays (The Country, directed by Lucien Mounet), which follows Chady and David, two contemporary sailors, brought together not by the longing for journeys, but by the mirage and necessity of exile. Both of them travel and work away from their homeland and family on various ships crossing the waters of Sweden, sharing the destiny of exile and finding, seeing in each other the concrete reflection of their own turmoil.
We invite you to purchase the general festival tickets at a price of 200 RON from the Eventbook site. Their number is limited to 100, and the subscription gives you access to all the screenings of films within the edition and to the opening event of the festival - which will be quite special - as well as entries to all the screenings of the One World Romania Cineclub during the year, a DVD of your choice from our collection, the festival bag and many other cinephile joys and surprises.
Waiting for the 20th of February, when we will put on sale all the tickets and launch the official website of the edition, stay connected to the One World Romania channels - on Facebook and on our blog - Facebook and on the blog - to find out what we are preparing for the 13th edition of the festival!
One World Romania Association
The Konrad Adenauer Foundation State of Law Program in South Eastern Europe
WITH THE SUPPORT OF:
Administration of the National Cultural Fund, National Center of Cinematography, Capital City Hall through ArCuB - Cultural Center of Bucharest, UNHCR - UN Refugee Agency, National Council for Combating Discrimination, Romanian Filmmakers Union
Embassy of France in Romania, French Institute of Bucharest, Goethe-Institut Bucharest, Czech Center Bucharest, Austrian Cultural Forum, Embassy of Switzerland in Romania, Hungarian Balassi Institute, Wallonia-Brussels Delegation in Bucharest, Périphérie, SUPER Festival, Apollo 111, Mezanin, UNATC , Agency Together, Balkan Documentary Center, Moldox Festival, Verzio Festival, Kinedok
Magic FM, Rock FM, Radio Europa Liberă, Adevărul, Scena9, Decât o revistă, Cinepub, Humanitas, Cărturești, Observator Cultural, Perspektiva, Film Menu, Igloo, Liternet, All About Romanian Cinema, The Institute, Films in Frame, Cutra, Graphic Front, Verbs Describe Us
THE FESTIVAL WAS FOUNDED IN 2008 BY:
Czech Center Bucharest
The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not responsible for the content of the project or how the results of the project can be used. These are entirely the responsibility of the beneficiary of the financing.