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  • Note on Multitude
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  • Language no dialogue

part of
double bill #3

Note on Multitude

Ibro Hasanović, Belgium, Kosovo, 2015, 8’

A large and anxious crowd prevails in this chilling black-and-white short film, shot with one camera in Pristina, Kosovo, in 2015. Intimate, emotional, and sometimes violent moments of farewell: men, women, and children leave their homes for an (unknown) future as migrants.

Note on Multitude (Ibro Hasanović, 2015)
Note on Multitude (Ibro Hasanović, 2015)
essay
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Long Goodybes

Ibro Hasanović’s Note on Multitude

Savina Petkova
01.10.2022

Note on Multitude observes a multiplicity of queues—at first, from afar, and then, up close—aggressively bridging the distance with rapid cuts where ‘here’ and ‘there’ switch up their positions. In less than eight minutes, Ibro Hasanović (director, cinematographer, editor) has encapsulated an ever-unfolding web of stories, their nuclei forever embedded in these black-and-white nocturnal shots. A harsh but beckoning pull becomes the connecting tissue between sequences as bodies make room for faces in conversation with other faces.

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Credits

Camera
Ibro Hasanović
Editor
Ibro Hasanović, Mathieu Jouffre
Sound
Nicolas Verhaeghe
Production
Neptune Barbu Films
63
documentary drama history portrait

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I Am Good At Karate

Jess Dadds, United Kingdom, 2021, 11’

Portrait of a young teenager with mental health issues who is passionate about karate. They wander around a housing estate in East Kent, locked in verbal and physical battles with a hallucinatory demon.

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The White Elephant

Shuruq Harb, Palestine, 2018, 12’

Using images shared on the Internet by Israelis during the Gulf War, the First Intifada, and trance music gatherings, Shuruq Harb paints the portrait of a Palestinian teenager in the 1990s. In the midst of Israeli pop culture and the political climate of the Oslo Accords, she comes to grips with her anxiety.

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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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Ours is a Country of Words

Mathijs Poppe, Belgium, Lebanon, 2017, 42’

Filmed in Shatila, a refugee camp built in Lebanon when thousands of Palestinians fled their country in 1948. At an undetermined moment in the future, the refugees’ dream of returning to Palestine becomes a reality.

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Mars, Oman

Vanessa del Campo, Belgium, 2019, 20’

Oman’s vast plains look so much like Mars that they are used as a training ground for astronauts. Two local girls gaze at the starry sky like curious scientists while the astronauts philosophise about living on the Red Planet.

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The Summer Movie

Emmanuel Marre, Belgium, 2017, 30’

A film about highways, tourists, concrete picnic tables, and lukewarm melons. About a man who wants to leave and a child who stops him. A summer movie.

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The Stopover

Collectif Faire-part, Belgium, DR Congo, 2022, 14’

Filmmakers Paul Shemisi and Nizar Saleh embark on a journey from the Democratic Republic of Congo to Germany to screen their latest film. However, during a layover in Angola, their trip takes a harrowing turn when airport authorities question the authenticity of their documents.

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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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