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Video-pool: Alona Pardo
108 Olga Chernysheva Marmotte, 3:00, 1999, Russia A communist demonstration in Moscow. Traffic, flags, slogans, sounds of ideological statements...one of the women participating in the demonstration suddenly stops on the side of the street, looking as if she forgot something. She starts to behave strangely, as though she is searching or fingering something. In this stance of pure autism, she falls behind the demonstration and slowly disappears, embracing Stalin's portrait. The soundtrack consists of street sounds and the melody of Beethoven's Marmotte.
109 Milica Tomic Portrait of my Mother, 63:00, 1999, Serbia For this work, Tomic uses a 'subjective' camera to film the walk between her home in Central Belgrade to her mother's apartment on the Eastern outskirts of the city during the 1999 NATO bombing of Belgrade in one continuous frame. The camera, held at thigh level, is a passive viewer, not focusing on any scene or object in particular. Tomic and her mother are only reunited at the very end of the film. What the viewers sees are the streets of Belgrade filmed with a subjective camera, a 'camera-eye' - a gaze that is not focused on any particular object-subject. The film is accompanied by a three-way conversation taking place between Milica Tomic, her mother and her mother's best friend - through which Tomic's questions her mother's true feelings towards Albanians etc.
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