It was with great pleasure that the members of the jury encountered the films selected for this new category, exploring the full capacity of audio-visual archival practices. Encouraged by the renewed recognition for such practices, we viewed the films with a careful eye, finding a world of images that not only tells us about our past, but also outlines suggestions for our future.
As archival practitioners, we found it quite difficult to choose just one film from the selected pool. In each of these films there exists a delicate relationship between the authenticity of the images chosen and the will of the filmmaker, and it’s tempting to see this as the core tension in archival practice. Still, the struggle of the filmmaker to extract alternative meanings and formulations from the images they’ve found reminds us of the archival documentary’s essential quality: that it is a reinterpretation.
Making archival films is an act of continuity in the humanistic tradition. It is the process of reinterpreting the present by looking back, in order to move forward. Critically, this interruption in the chronology of history provides a moment to reflect.
This film is not only a portrait of an athlete who shakes the world with his silence; it is a homage to an ongoing struggle, a reminder that black lives matter, that racism is structural, that the media is also biased, or not. Using a popular format and energetic editing, the filmmaker manages to leave the hype on the surface and go deep to analyze the present from a rich and painful history of inequality and injustice.
The Special Jury Mention goes to Marshawn Lynch: A History by David Shields.
From the future…to the future… the director manages to capture the world using a unique and obsessive visual language. With a relentless practice of cutting news clips and images over the past 40 years, he brings us a vision of an ever-changing world, in a paradigmatic rhythm. He takes us in transition to an unknown future; we are being guided by his humanistic and artistic patterns, with all their recurrences, as a way to predict a future from the present.
The Beeld en Geluid IDFA ReFrame Award for best creative use of archive goes to A Letter to the Editor by Alan Berliner.