Together with our friends from KASKcinema, we’re bringing the sea to Ghent and celebrate Southwind, a film by Maxime Berthou and Mark Požlep about their adventurous trip on a paddle steamer on the Mississippi.
In the presence of Mark Požlep.

SOUTHWIND
MAXIME BERTHOU & MARK POZLEP — US/BE/FR, 2022 – 72’

15/12 20:30 KASKcinema Gent

Southwind is the second feature film by Maxime Berthou and Mark Požlep. The film documents their project which started as a restoration of a traditional 21-foot-long paddle steamer, with which they cruise the 1712 miles of the Mississippi River, from Minnesota to Louisiana.

In the initial idea the trip would last 50 days, with punctuated stops to collect the 42 different varieties of corn from different local farmers along the 10 different states they crossed. In the end they would make moonshine, transforming the boat into a small distillery…

However, what started as a concept in which the old ‘great America’ and the new ‘great America’ of the Trump-era were brought together – using the corn as a metaphor for the dreams and problems in a society, turned out the be a nightmare trip.

We see multiple unexpected encounters with nature, locals and themselves… Much more – or besides, a geography of a country and its inhabitants, Southwind turned out to be a travelogue about two adventurists who’ve started an impossible journey.

tickets

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Artistic coordination: Anouk De Clercq, Godart Bakkers
General coordination: Ditte Claus
Artistic team: Eric de Kuyper, Erien Withouck, Xavier Garcia Bardon
Production team: Bob Mees, Jef Declercq, Johan Opstaele, Noah Heylen
Graphic design: Michaël Bussaer. Webdesign: Dominique Callewaert.

With the support of Auguste Orts, CINEMATEK, KAAP, KASK School of Arts Gent, Onderzoeksfonds Universiteit Gent, Vlaams Audiovisueel Fonds.

Whoever walks in Ostend today is confronted with a fantastic eclecticism: a brutal grey apartment block exists next to the glorious Thermae Palace. The mighty, almost Stalinist, building of De Grote Post dominates the Hendrik Serruyslaan. A former department store houses a museum for contemporary art. Belle-époque houses are hidden in the quiet but stately streets.

In 2017, one void struck artist Anouk De Clercq: that glorious film culture of Henri Storck, James Ensor or Raoul Servais had disappeared from the streets. With the closure of the Rialto cinema, the last independent cinema from the Ostend cinema circuit also disappeared. Against such an extraordinary backdrop, with the sea as a large projection surface for images, stories and histories, that is such a shame.

And so the idea of Monokino ripens: one room, marked by an equally fantastic eclecticism, where cinema can be itself again. One room where long and short films, film classics, auteur cinema, video art, experimental films, animation, or the work of young makers can find a place. Monokino shows, questions, responds, engages in conversation, invites, welcomes, puts in perspective. Monokino is a place of, by and for people from Ostend, for professionals and enthusiasts, for young and old, for those from here and those from there.

The films that Monokino wants to show don’t only live on the screen. They also spread between residents, spectators, and makers. In that sense, Monokino is also Kopfkino: a mental cinema, where images get the chance to live and multiply.

That’s how Monokino drifts nomadically through those eclectic streets of Ostend and settles in the heads and hearts of the people of Ostend. Soon it’ll moor for good.

Monokino wants to drive cinema into the 21st century and illuminate the adventurous side of film. While we strive for a permanent place as anchorage for cinefiles from Ostend and beyond, Monokino operates as a nomadic film platform.

The sea is Monokino’s favourite projection surface for images, stories and histories. In anticipation of our next screening, we’ve started to collect a list of films in which the sea plays a main or supporting role. Can you think of a film that’s not already on our list? We’d love to hear about it via info@monokino.org.

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