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THOUGHTS ON MEMORY

Andra Tarara
Romania, 2022
7 min.

A small part of Ion Tarara’s photographic archive is put in sentimental order by his daughter, on which occasion she rethinks the poetics of archivism.

We’ve reached Andra Tarara’s third film about her own family, and as it goes on, this unplanned project of (self-)documentation becomes more and more distressing for the spectator. The filmmaker puts into practice a seemingly self-understood idea but one rarely used as such: that time can be saved through cinema. Nothing more urgent, then, than to film everything you love, everything that for the moment you don’t understand. But this last (?) part of a triptych poses yet another problem — does such an urgency ever come to an end? What follows? The anti-urgency: to archive, to preserve, to organize. A series of reflections on memory are both a practice and a poetics of archivism. (Călin Boto)

Data proiecție și locație

Friday, 29th of September | 21:00

Cinemateca Eforie, Strada Eforie 2
Cumpără bilet

Premii și festivaluri

Andra Tarara

Andra Tarara works with images. She studied film at the UNATC, then completed a master’s degree in visual anthropology at SNSPA. She currently works as an archivist in the Image Archive of the National Museum of the Romanian Peasant (MNȚR), as well as in independent photo/video/film projects. Her most recent film, Us Against Us (premiered at Ji.hlava IDFF 2020) is a documentary made in collaboration with her father. Their relationship is explored through an authentic dialogue about the illness that has affected both of their lives. The film has been selected in numerous film festivals, was named Best Romanian Documentary at AstraFF 2021 and has been part of various cultural initiatives aiming to destigmatise mental illness.

  • Technical sheet
  • Production and distribution
  • DIRECTION, SCRIPT, PRODUCER, VOICE, EDITING, SOUND: Andra Tarara
  • : IMAGES FROM ION TARARA’S PHOTOGRAPHIC ARCHIVE
  • PRODUCED BY: Andra Tarara

National Competition 1

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A small part of Ion Tarara's photographic archive is put in sentimental order by his daughter, on which occasion she rethinks the poetics of archivism.

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