Juror
Sabine Lancelin
[Juror’s Statement]
The beauty of images is behind objects while the beauty of ideas is in front of them. Cinema helps us to see what emotions are. It is an essential Art when one prefers to conquer the world instead of being its victim.
Born in 1959 in Kinshasa, Sabine Lancelin belongs to the first generation of French female cinematographers. She has always supported and worked for independent films, actively defending a cinema of quality and originality. These past ten years she has regularly collaborated with Manoël de Oliveira, working on numerous films of his. She has been the director of photography on different films by Chantal Akerman like The Captive, or films by Michel Piccoli like The Black Beach. Sabine has also collaborated with numerous filmmakers like Éric Rohmer (Boyfriends and Girlfriends), Pierre Schoendoerffer (Diên Biên Phu), Raoul Ruiz (Time Regained), Philippe Grandrieux (Sombre), Alain Guiraudie (The King of Escape), and Laurent Achard (Ultimate Screening). She has worked with directors as diverse as Marie-France Pisier, Jacques Malaterre, Josiane Balasko and João Viana. She manages the Cinematography Department of the Femis, the French film school.
Our Madness
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MOZAMBIQUE, GUINEA-BISSAU, QATAR, PORTUGAL, FRANCE / 2018 / Xitswa, Swahili / Color, B&W / DCP / 90 min
Director, Script, Narration: João Viana
Assistant Director: Paulo Carneiro
Photography: Sabine Lancelin
Editing: Edgar Feldman
Sound: Gabriel Mondlane
Music: Pedro Carneiro
Sound Design: Mario Dias
Art Director: Filipe André Alves
Cast: Ernania Rainha, Bernardo Guiamba, Rosa Mario, Francisco Muxanga, Janeth Muthemba, Mamadu Baio
Producers: João Viana, Francois d’Artemare, Sol Carvalho, Carlos Vaz
Production Companies: Les Films de L’Après-Midi, Papaveronoir, Promarte, Telecine Bissau
Source: Pascale Ramonda www.pascaleramonda.com
Lucy is hospitalized in a psychiatric hospital in Mozambique. She dreams about her little son, Hanic, and her husband, Pak, who is a soldier of the war. In the meantime, a quirky musical instrument plays: her own bed. Lucy’s musical virtuosity attracts the attention of the hospital nurses. One day, her song is played in a radio program and Rosa, an evangelical priest of “Rádio Moçambique,” goes to the hospital to listen to Lucy’s song. Lucy takes the priest’s visit as an opportunity to run away from the hospital.