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Frames of Representation (FoR) returns to the ICA this year for its second iteration. The festival includes UK and international premieres, profiling filmmakers from Argentina, Denmark, Venezuela, Poland, India and films from Brazil, France, Germany and Portugal. 

The festival this year reflects on the contemporary experience of 'working'. Through this theme, it aims to question the significance of work today and its social, political and cultural functions. 

The films selected traverse varied visual and cultural terrains: the rough and the smooth, the known and the unknown. They engage with issues of labour and exploitation, power and access to knowledge, and technology as a vehicle for change. Interrogating the boundaries between genres and visual languages, the festival aims to expand the parameters of art and activism, offering a space for critical engagement and social commentary.  

The eight-day programme profiles eleven feature-length documentaries and eight supporting events. These events respond to the films in order to provoke reflection on the ethical and political implications of distinctive cinematic languages and voices. The festival aims to support and generate dialogue around emerging practices in documentary cinema. In particular, we champion films that explore the tension between authenticity and artifice, reflecting on both the material realities of working and the fictional frames of filmmaking. (Nico Marzano, Festival Curator).

Join the conversation on social media with the hashtag #FoR17 

 

Frames of Representation Film Festival 2017 is curated by Nico Marzano.

With the contribution of Luke W Moody and supported by Astrid Korporaal, Aga Baranowska, Elena Dirstaru and by Michal Bialozej, Maya Caspari, Kamil Dobrosielski.

Special thanks to Maya Caspari for coordinating content editing.

FoR17 will be presented in academic partnership with CHASE (Consortium for the Arts and Humanities South-East England).

 
 

The Argentinian focus programme on Sunday 23 April is presented in association and with the support of The Royal Central School of Speech and Drama, University of London CSSD

 
 

with thanks to