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  • Aurélia Steiner (Melbourne)
Aurélie Steiner (Melbourne) (Marguerite Duras, 1979)
Aurélie Steiner (Melbourne) (Marguerite Duras, 1979)

    Aurélia Steiner (Melbourne)

    Marguerite Duras, France, 1979, 28’

    Paris, France. A boat glides slowly past the banks of the Seine. From the bow of the vessel, we see industrial sites. Cars drive along the quays and across many bridges: Pont d’Austerlitz, Pont National, Pont Neuf, Pont Alexandre III. Curious silhouettes watch the river from their pavements. On the voice track, Aurélia Steiner addresses a letter to a traceless love(r). “Où êtes-vous?”, she asks politely. The hum of the engine carries her silences. Beyond that, there is little else. Melbourne is miles away.

    In this fictional epistolary film, writer Marguerite Duras, a member of the French Resistance during the Second World War and partner to a Holocaust survivor, uses her titular alter ego to voice a deeply personal grief. Through geographical dislocation, she creates a poetic distance in order to speak about historical trauma and exile. Although her literary observations often cover very mundane subjects (her scrawny cat, wilting roses), her interplay of words and images here suggests that the reasons for her broken heart are much more profound.

    Flo Vanhorebeek

    Bio Marguerite Duras

    Marguerite Duras (1914–1996) was a French novelist, playwright, screenwriter, essayist, and filmmaker. One of the most influential intellectual figures of her generation, she is the author of classic works, such as the films Hiroshoma mon amour (1959) and India Song (1975), and the novel L'Amant (The Lover, 1984), which was awarded the prestigious Prix Goncourt.

    499

    This film was part of yanco’s April 2026 calendar

    experimental fiction poetry romance

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    Herman@s (Les Adelphes)

    Hélène Alix Mourrier, France, 2021, 29’

    Mexico, October 2011. A mysterious dream gives birth to Cuco, a transgender latex pirate activist. This essayistic film follows their quest to create more recognition for the queer community.

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    Devotion

    Cynthia Madansky, Turkey, 2003, 34’

    A sparing and minimal travelogue of Istanbul. A foreigner meditates on the unraveling of a relationship while moving from hotel room to hotel room. In a city simultaneously devoted to Islam and secular nationalism, she finds refuge in the frailty and severity of rituals.

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    Snow Edge

    Juan Francisco Rodríguez, Colombia, 2021, 15’

    The thaw of the so-called eternal snow of Páramo, a neotropical alpine ecosystem in the high Andes, exposes a layer of meaning about the origins and survival of the landscape.

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    On Its Way Down

    Sebastian Schaevers, Belgium, 2022, 22’

    Zinal, a small town in the Swiss Alps, looks straight up toward the melting glaciers of the Couronne Impériale. The townspeople struggle with nihilistic indifference. When the threat is so immediate, and their powerlessness so great, can their response be anything other than cynicism? Then a paraglider falls mysteriously from the sky, and Zinal starts to change.

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    Pirate Boys

    Pol Merchan, Germany, 2018, 13’

    Punk author Kathy Acker’s work is the starting point for a conversation about gender identity and body transformation and is linked to the punk movement of the 1970s and 1980s.

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    elephantfish

    Meltse Van Coillie, Belgium, 2018, 27’

    A ship drifts in the middle of an endless sea. Aboard is a crew of five. They all cope with boredom — some by trying to overpower it; others by escaping into a parallel world guided by dreams.

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    The Living Wardrobe

    Martí Madaula Esquirol, Spain, USA, 2024, 18’

    Martí arrives in Bilbao for an artistic residency. In his new room, his clothes occupy only a small portion of the enormous wardrobe. But when he meets someone, the wardrobe slowly begins to fill up. Where has the emptiness gone, the free space, the little corner that was his?

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    À l’usage des vivants

    Pauline Fonsny, Belgium, 2019, 27’

    In 1998, Semira Adamu, a 20-year-old Nigerian immigrant, died on Belgian soil of suffocation under a police pillow. Twenty years later, two women tell her story in a cry for justice. Through this film, they highlight the reality of detention centres: the harsh conditions of confinement, the suffering of detainees and the abuse by guards and police officers.

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