Encompassing the work of masters and debut filmmakers alike, the films in the selection engaged in reviving, re-purposing, re-cutting, and re-signifying previously existing material, and so made us continuously re-consider, re-think, re-imagine, and re-connect.
Filmmakers gave their take on the material through research that was extensive and meticulous. The variety of sources was astonishing. From cracked footage and home movies to TikTok and facial recognition software. Archives of all types and sizes transformed into films of various lengths, genres, and styles, and took us on a journey through different continents and moments in history. Simple and seemingly unrelated private footage—once creatively appropriated and re-examined—became public and political. Images that were not meant to be seen widely became emblematic. We felt privileged and grateful to IDFA for the opportunity to view this eclectic line up. The three of us, coming from different backgrounds and environments, found happy conviviality and made our choices in unanimous consensus.
For the unsettling warning of the perils that face us, and for the belief that a different future is still possible, we give a special mention to The March on Rome by Mark Cousins.
For combining old footage and new technology in a unique journey, where the private becomes public, and for approaching the complexity of racism in an explorative way, allowing the viewer the active experience of research and reconstruction, making it fun and exciting, the Beeld & Geluid IDFA ReFrame Award goes to Private Footage by Janaína Nagata.