"Film and memory" cycle at Human Rights Film Festival

God Is a Woman
God Is a Woman


The festival will take place between 12 and 19 April at the Victoria Eugenia, the main setting for the event, and the Teatro Principal, as well as other venues around the city. This year Tabakalera will again be featuring the Film and Memory series, made up of three films analysing the power of images and their importance in recounting History: The Mother of All Lies, God Is a Woman and Subject.

FILM AND MEMORY (Tabakalera)

  • The Mother of All Lies (2023). Asmae El Moudir. Morocco-Saudi Arabia-Qatar-Egypt

Moroccan filmmaker Asmae El Moudir takes moving house as the starting point in aiming to discover why she only has one photo of her early childhood. Through interviews with relatives, friends and neighbours, and a model of her neighbourhood through which clay figures stroll, El Moudir comes up against the marks left by the Casablanca riots of 1981, with hundreds of people killed or suffering reprisals, to explore the relationship between individual and collective memory, in a story starring a grandmother who will leave no viewers unmoved.

  • Subject (2022). Jennifer Tiexiera, Camilla Hall. USA

Subject recounts the experience of sharing your own life on screen, in the words of the subjects of such notable documentaries as The Staircase, Hoop Dreams, The Wolfpack, Capturing the Friedmans and The Square. The film analyses what it meant in their lives to be under the lens of a microscope day after day, and reflects on the ethical components and responsibility inherent to the act of filming a documentary. Millions of people watch documentaries these days, in an unprecedented golden age for the genre, and this work reflects on the profound impact this has for their subjects.

  • God Is a Woman (2023). Andrés Peyrot. France-Switzerland-Panama

In 1975, Oscar-winning French director Pierre-Dominique Gaisseau travelled to Panama to film the Guna community, where women are sacred. He lived there for a year together with his wife, and his daughter Akiko. They ended up penniless, and the bank confiscated the footage they had filled in. 50 years later, the Guna men and women are still waiting to see "their" film, a legend which has been passed on to new generations. One day, a copy appears in Paris.