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  • she asked me where i was from
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she asked me where i was from

Aulona Fetahaj, Belgium, Kosovo, 2020, 24’
DokuFest

2020

Drawing on digital memories and using online tools such as Google Maps, Aulona Fetahaj reflects on how it feels to be the child of refugees in the digital age.

she asked me where i was from (Aulona Fetahaj, 2020)
she asked me where i was from (Aulona Fetahaj, 2020)
essay
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Digital Roots

Aulona Fetahaj’s she asked me where i was from

Irina Trocan
05.05.2023

The story builds slowly and elliptically in the filmmaker’s spontaneous exploration, using digital visualization tools and the personal photo archive on her Mac. There is the bulk of automatically named .jpg files from a wedding. Everyone always goes back to their hometown for weddings. Some of these photos have a sort of tactility to them. Someone took care to put them in a frame, or else they, by themselves, have that power – the very easy-to-guess story behind the image draws you into the frame until it’s three-dimensional and surrounds you. An Eastern European village house, destroyed by a shell projectile, testament to the dissolution of Yugoslavia.

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Credits

Script
Aulona Fetahaj
Cast
Aulona Fetahaj
Editor
Aulona Fetahaj
Producer
Aulona Fetahaj
130
essay documentary politics humour portrait

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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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Yarokamena

Andrés Jurado, Colombia, Portugal, 2022, 21’

In 20th-century Colombia, resistance fighter Yarokamena, a member of the indigenous Uitoto tribe, called for rebellion against violent exploitation of the rubber mining industry in the Amazone and invoked the spiritual powers of war.

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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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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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The Jungle Knows You Better Than You Do

Juanita Onzaga, Belgium, Colombia, 2017, 20’

Two siblings roam the mystical landscapes of Colombia, searching for their dead father's spirit. Their journey takes them from the city of Bogotá to the jungle, through realms of thought and deep into their haunted dreams.

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Because We Are Visual

Gerard-Jan Claes, Olivia Rochette, Belgium, 2010, 47’

By means of visual material gathered from online sources, filmmakers Olivia Rochette and Gerard-Jan Claes create a unique poetic realm in which thoughts, fears, desires, and worries are shared via webcam, and merge together.

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Cyclepaths

Anton Cla, Belgium, 2023, 12’

On the outskirts of the city, the new modern buildings are silent, and the motorway bridge drones. Birds are circling in the sky, and a young man, concealed by his hoodie, is riding his e-scooter along a park path. The only irritating element is the rifle over his shoulder. Cyclepaths conveys a mood of high alert, even though the disaster has, in fact, already happened.

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Noonlight

Kayt Schneider, Belgium, 1991, 10’

Passing through the Noon Market in Brussels, filmmaker Kayt Schneider captures the peaceful, poetic coexistence of people and cultures.

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