Trained in documentary, the Belgian filmmaker Caroline Strubbe relies on the keen observation of concrete detail, rather than conventional means of dialogue-driven exposition, to advance the enigmatic narratives of the two fiction features she has created to date—the first two panels of a planned trilogy on emotional and physical dislocation in the new, "borderless" Europe. Although the first two installments tell a story in chronological order, the strength of Strubbe's observational technique is such that they need not be seen sequentially: each image seems to bristle with implied backstories and possible lines of action departing from the central narrative. The result is work that is at once pressingly real and alluringly enigmatic.
Organized by Dave Kehr, Adjunct Curator, Department of Film.
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