Followed by a talk with Sarnt Utamachote, Popo Fan, Ragil Huda, and Ahmed Awadalla and a closing party.
Slow-motion shots that reveal parts of bodies and fragmented films ask the audience to re-construct these slices as fully embodied human beings. Taking a US-American Black-queer perspective in Non, je ne regrette rien (No Regret) and a Canadian-Caribbean Asian-queer viewpoint in Sea in the Blood, both films interweave a centuries-old shared sense of sociality and bodily memories with the poetics of kinship – notions which have long inspired queer BIPOC social movements.
Non, je ne regrette rien (No Regret)
Marlon T. Riggs, USA 1992, 38 min.
Sea in the Blood
Richard Fung, Canada 2000, 26 min.
Ahmad Awadalla is a writer, psychosocial worker, and sex educator based in Berlin.
Sarnt Utamachote is a filmmaker, photographer and curator. He is a co-founder of un.thai.tled, a collective of Thai-diasporic creatives in Germany, through which he curated un.thai.tled Film Festival Berlin as well as Beyond the kitchen: Stories of Thai Park. His video installation I Am Not Your Mother (2020) was officially exhibited at the International Film Festival Rotterdam.
Popo Fan, born 1985, is a Berlin-based Chinese diaspora filmmaker, curator and writer. His films include queer activism documentaries and scripted, sex-positive shorts. For more than a decade, he has organized the Beijing Queer Film Festival and founded the Queer University Video Training Camp in China. In 2019 he curated film series “More Than A Midnight Rainbow” about Chinese-made and Chinese-speaking queer films at bi’bak.
Ragil Huda is an organizer, independent curator, and graduate student at the Asien-Afrika Institut, Universität Hamburg. He co-founded QTIBIPOC Hamburg and is also one of the organizing committees of the international platform and network called Queer' Asia in Berlin. His community engagement and academic work specifically center on queerness, intersectionality, community building, critical pedagogy, and the social-political realities of marginalized communities through various methodologies and collaborative curatorial practices.