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Two responsible-looking (immigrant) security guards, Ammar Abdulkareem Khalef and Daniel Nkubu, patrolling the village Faverge, in Buchi's film L'Ilot
I continue to research on the background of Tizian Buchi (the Grand Prix prize recipient for his film L'Ilot at the Visions du Reel film festival in Switzerland, the same place where Beshir won her $20,000 Grand Jury prize last year for Faya Dayi).
Beshir, as I write in the previous post, is now a member of the jury that chose to award Buchi's L'Ilot with the Grand Prix prize this year.
Here is a French (Swiss?) site which attempt lists Buchi's 2015 film La Saison du Silence (The Sound of Winter) about a remote hilltop Swiss village, La Cote-aux-Fees - The Hill of Fairies. Not surprising that Buchi gravitated there, and filmed swaying trees and undecipherable sounds.
Max is a farmer from the Jura Mountains. He lives on an isolated farm in a village called La Côte-aux-Fées, literally “The Hill of Fairies”. It’s winter, time stretches out and opens a window on imagination. [Source]
Here is what Tenk, the site which promoted (listed) Buchi's film on The Hill of Fairies says:
La programmation de Tënk repose sur la participation et l'implication d’une vingtaine de programmateur·rices issu·es du réseau de professionnel·les du documentaire d’auteur·rice, de Lussas ou d'ailleurs. Ces passionné·es, pour la plupart organisé·es en binômes, parcourent les festivals et leurs filmothèques personnelles pour proposer à Tënk les films qui les ont marqué·es. Ainsi se construit la programmation de Tënk.
Tënk’s programming relies on the participation and involvement of around twenty programmers from the network of auteur documentary professionals from Lussas or elsewhere. These enthusiasts, mostly working in pairs, scour film festivals and their own personal film collections to suggest films that have made a big impression on them. This is how the ranges that make up Tënk’s programming are constructed one by one.
The French language, with its masculine/feminine noun and verb conjugations, requires each word follow that rule. Words, though, can take on a "masculine" form, for generalized understanding.
Otherwise, we get into the fascinating intricacies of how to include both masculine AND feminine forms.
For example, here is the first sentence of the above, French statement, I've highlighted the industrious and diligent editors' attempt to be "inclusive." I use red where necessary to differentiate between words:
La programmation de Tënk repose sur la participation et l'implication d’une vingtaine de programmateur·rices issu·es du réseau de professionnel·les du documentaire d’auteur·rice, de Lussas ou d'ailleurs.
Imagine writing like that - "une vingtaine de programmateur·rices...." - ad infinitum? How about speaking? LOL!
No wonder people cannot create anything of substance. Everything is covered with the hazy shadow of "inclusivity."
And here is (mad) Max from Buchi's 2015 film The Sound of Winter (La Saison du Silence in French):
...the everyday life of the gnarled old Max
And the Whispering Forests of (Mad) Max's Mountain Village The Hill of Fairies
(Mad) Max, the bearded white, old, man, looks up to the murmuring forest fairies for answers.
Ammar Abdulkareem Khalef and Daniel Nkubu, the two immigrant policemen in The Sound of Winter, are grounded on the earth (in the hills), ignoring the gusty winds.
Who do you trust?