Identification Photos

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Identification Photos (Retratos de Identificação)

dir. Anita Leandro
Brazil / 2014 / 72′

The screening will be followed by a Q&A with director Anita Leandro.


Thursday 25th February, 6:30PM
Ben Pimlott Building Lecture Theatre (aka: the art building)
Goldsmiths, University of London
(campus map here. Look for building 13)
New Cross, London SE14 6NW 

The event is free but it is advisable to book a place



Two Brazilian former guerrillas get their first glimpse of police identification photos taken after their respective arrests during the military dictatorship. The past resurfaces through the images, and with it comes a story of crimes so far unaccounted for.

During the military dictatorship in Brazil (1964-1985), the political prisoners were photographed by the police in different situations: investigations, arrests, torture, medical examinations, processes of banning, enquiries and autopsies. Nowadays, this documentation is revealed as pieces of evidence of crimes and violent acts committed by the armed forces and by the Civil Police.

The photos reproduced in this film, taken from military archives, refer to the arrest of four people who were barbarously tortured: Espinosa, who by that time was the Commander of the armed organization VAR-Palmares, talks about his wife Dora and their common friend Chael, who was violently tortured; Guarany, from another organization, ALN, meets Dora when they are being released from prision in exchange for the life of the Swiss ambassador Giovanni Bucher, who was kidnapped by the guerrillas. In exile, without passports, Guarany and Dora will live together under permanent police supervision in Chile, Mexico, Belgium, France and Germany. One day, in Berlin, Dora will put an end in this situation.


Anita Leandro

Anita Leandro is a documentary filmmaker and professor of cinema studies at the Federal University of Rio de Janeiro. For six years she coordinated the professional masters course “Documentary filmmaking and appreciation of archives” for the University of Bordeaux, France. She has also produced documentaries and audiovideo installations.

Filmography and video installations

Autopsie, sound installation, Exhibition Arquivos da ditadura, Brazil, 2014.
Identification Photos, sound installation, Exhibition Arquivos da ditadura, Brazil, 2014.
Evocação da estética da fome, por Lucia Rocha, documentary, 90 min, Brazil, 2002.
Quem teve é que sabe, documentary, 80 min, Brazil, 2005.
Animaizinhos, fiction et documentary, 62 min, Brazil, 2008.
Patativa do Sertão, documentary, 52 min, Brazil, 2008.
Chefes e outros, fiction and documentary, 50 min, Brazil, 2007.
Lélio e Lina, fiction and documentary, 70 min, Brazil, 2007.
Sinapses, video installation, Exhibition Nutes 30 anos, Brazil, 2003.
Le cru et le cuit, video installation, Brazil, 2004.

This screening is organised with and supported by the Department of Anthropology, Goldsmiths. 

Dark Matter – an interview

This is an interview with directors of DARK MATTER Massimo D’Anolfi and Martina Parenti, followed by some comments and questions  from the audience. The clip is in Italian, but we translated it into English.

(screening info HERE)

Here it goes:


A film of images

Martina Parenti: I believe that documentary filmmaking is the most interesting type of filmmaking that one can engage in nowadays. In terms of productive thought, in terms of creative thought, in terms of film direction, it is the genre that is able to tell the most about the present time; it is the most creative and the most difficult form that one can choose to express oneself through images.

Massimo D’Anolfi: There is a continuous process of creation, there are always new roads to explore. I find it immensely more entertaining than fiction.

MP: I wish that Italian documentaries received cinema releases, because I think that the audience would like it.

 MdA: I think that cinema either distances itself greatly from TV, because otherwise it will lose its reason d’etre.

MP: the challenge of Dark Matter was to make a film of images, a film where words wouldn’t have a space.

MdA: this is a film that deal with the stupidity of human beings. The Ogliastra landscape is wonderful, it is really a paradise on earth, and so it was when in ’56, after WWII, it was decided that a firing rage was to be set up there.

MP: it is an open air firing range, there are no fences, and this is the terrible reason why the flocks continued to enter very easily into the military zone.

Audience member: I wonder why you chose to follow the flock to show the story of the illness, rather than a human story.

MdA: it was clear to me from the beginning that this wasn’t just a film about humans. We often say that humans are guests on this earth; in this film there are plants, and animals, the wind, and then humans, who don’t have less importance than all the other creatures in the film.

All the people in the film have been strongly affected by losses in their families – sons, brothers, daughters. We have tried to express this through images.

MP: cinema and the firing range go hand in hand. Since the beginning, the military have filmed their throws: they did so in order to document, and also because they needed the images to check the trajectories of the missiles. The images that you see at the beginning are set in the cinema centre of the aeronautical base, where the military were trained to film. For many years, the firing range saved more film reels than Cinecittà, because they filmed in slow motion, so they shot many more meters of film than one would normally.

MdA: we decided to show some of the things only through sounds, and through the eyes of the shepherds. Especially in the first part, which is the most enigmatic one, because at the beginning you don’t really understand where you are. We really worked hard on giving a sense of disorientation, which is the opposite to how one normally operates in cinema, which works through identification. We have tried to make people lose their bearings.

Audience member I: the use of sound, the violent use of sound, this sense of violence in the landscape, in nature, in the people.

Audience member II: I liked the film. What I liked most was the contrast in the use of sound. The contrast between the sound of explosions, the sounds of animals, the landscape sounds, the exceptional calm of that place.


Dark Matter

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Dark Matter (Materia Oscura)

dir. Massimo D’Anolfi, Martina Parenti

Italy/2013/ 80′ 


Screening on Wednesday 9th September, 7:00 PM sharp (doors open 6:30PM)
at the Rye Hill Tenants Hall, 241 Peckham Rye,Peckham, London SE15
as part of the Peckham and Nunhead Free Film Festival. 

(To get there catch the 343 bus from Peckham Rye | 484 from Camberwell. Get off at Rye Hill Park bus stop, the hall is just there opposite the stop. Have faith)




Amakino returns to the Peckham and Nunhead Free Film Festival with a film about the land, the environment and the theatre of war, directed by the authors of The Castle (2011) and L’infinita Fabbrica del Duomo (2015), premiering at Locarno Film Festival this year.

Dark Matter tells the story of a war zone in peacetime.
The film location is the Salto di Quirra test range in Sardinia, where, for over fifty years, governments from around the world have tested “new weapons” and where the Italian government has carried out controlled explosions of old weapon stocks, inexorably endangering the territory. The film comprises three movements. The first movement follows the investigation of a geologist who attempts to trace the pollution caused by military experiments. Between land and sea, military and civilian ruins, among targets, shafts, shells, charges, radars, carcasses of tanks and missiles, the film uncovers the silent places and listens to the silence of two shepherd brothers who have been forced to live with the effects of war, although the rumblings of explosions still echo in the valleys.


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The second movement focuses on the search through the film archives of the test range, which store incredible images telling the story of over fifty years of war tests. Missiles, rockets, bombs, blasts, controlled explosions: the dress rehearsal for war was put on display in front of the test range cameras. Negatives and positives, slow and fast motions: sizes and colors follow in quick succession in the darkness of the editing room.
The third and last part describes the work of two farmers, father and son, and their relationship with the land, animals, and with a past deeply affected by military activities. Despite the care, dedication and love for their work, too often are their animals born malformed, their internal organs full of radioactive substances.
A horror story set in seemingly untouched nature.
Dark Matter depicts this silently poisoned place evoking its tragedy using the power of storytelling through images. And between mountains and sea, past and present, an apparently endless fictional war” is constantly being staged.