Annick Ghijzelings

Tracking missing socks in the European Union.

For thirty years in the late-twentieth century, the people of Tahiti survived dozens of offshore nuclear tests by the French government. Since the country was colonized in 1880, the blasts left Tahitians picking through the remnants of their islands and culture in an effort to keep indigenous knowledges alive. The film offers a poetic glimpse into contemporary Tahiti, and the colonial struggles its people still face as they strive to sustain their way of life.

This is de facto a film about a film, with the only difference being that the focus is exclusively on the extras. They are filmed while waiting to take their turn, while conversing with others, and thinking about their performances. Although they take their duties very seriously and long to be stars, for the filmmakers, they’re just people that can be coordinated as necessary, nothing more. This film, on the contrary, gives them full consideration, revealing their personalities, what they experience, and what they dream of. The footage comes from many different places where movies are made, involving extras from all different nationalities.

In Martinique, centuries of colonisation, slavery and migration have intermingled peoples from the four corners of the earth, making each one the son of all. Starting from a dialogue between the slaves thrown into the Atlantic during the slave trade and the migrants who are dying today in the Mediterranean, this film questions current identity-based divisions and shows us that another world is possible.

Rooted in Polynesia, in the heart of the South Pacific, this wandering movie crosses borders and centuries to explore time and its representations. This journey brings a constellation of stories where the science of today meets the myths of yesterday, where politics meets poetry, where dreams meet history. But it may well conclude, at the end of this meandering journey, that time no longer is what it seems to be.