screening
FILM
Inside the Distance
,
,
101’

“In boxing, ‘the distance’ refers to the scheduled length of a fight, during which the boxer’s aim is to remain standing. During this time, in this liminal period of in-betweenness, the fighter continuously gauges range and measures time, jostling for position in order to gain ground and soften the blows. Armenian boxing coach Giorgi Shakhsuvarian has dedicated his life to this dance of position and timing inside the ring. Ever since he left behind the Georgian city of Tbilisi when he moved to Belgium, he has primarily been teaching his skills to a young boxer, whom he is preparing to be a European champion. But the negotiation of time and distance also continues outside the ring, in the exilic experience of oscillating between there and here, between then and now, between a lost and a newly acquired home. ‘Will my heart be big enough to bridge the distance?’, we hear him ask while looking at the world map and using his fist as measure, as he prepares to return to his hometown after an absence of thirteen years. It is this sense of displacement, of a belonging never fully attained, that resounds in Elias Grootaers’ Inside the Distance. Spaces find themselves diffused and multiplied into patterns of lines and dots, no longer knowing centre from margin. Human figures dissolve into plays of shadows and silhouettes, where they come to waver between actual presence and virtual absence, as if the play of framing and masking, of fragmenting and multiplying, evokes a perpetual state where bodies are never really ‘at home’. Perhaps this exploration of cinematic spaces, where identity and temporality become unsettled, ultimately corresponds to the experience of what one of Giorgi’s friends describes as ‘floating through life’: a poetics of dislocation.”

Stoffel Debuysere1

 

“Die collagevorm zit ook in de documentaire zelf, een werk van lange adem waarin we fragmenten uit Shaksuvarians bestaan te zien krijgen: zijn trainingen en kampen met Junior Bauwens, de telefoongesprekken met zijn zoon, de nieuwe ontmoeting met zijn familie in Georgië. […] Het is een beetje een verbrokkeld proces geweest, besluit Grootaers. ‘Maar dat was ook een beetje de insteek van de film: net zoals de collages aan de muur van zijn vroegere appartement en de collages die zijn trainingsschriftjes zijn, is de film dat ook een beetje. Op het einde van de film zegt Giorgi tegen zijn zoon: “Jij bent niet jij”. Waarmee hij bedoelt: elke mens is een collage, een samenstelling van verschillende elementen, misschien wel zonder kern. Dat idee van de mens als collage, dat vind ik een heel mooie manier om naar de wereld te kijken.’”

Edwoud Ceulemans in gesprek met Elias Grootaers2

Sun 26 Nov 2017, 22:00
Cinema Aventure, Brussels
PART OF Filmer à tout prix 2017
  • In the presence of the director
FILM
Inside the Distance
,
,
101’

“In boxing, ‘the distance’ refers to the scheduled length of a fight, during which the boxer’s aim is to remain standing. During this time, in this liminal period of in-betweenness, the fighter continuously gauges range and measures time, jostling for position in order to gain ground and soften the blows. Armenian boxing coach Giorgi Shakhsuvarian has dedicated his life to this dance of position and timing inside the ring. Ever since he left behind the Georgian city of Tbilisi when he moved to Belgium, he has primarily been teaching his skills to a young boxer, whom he is preparing to be a European champion. But the negotiation of time and distance also continues outside the ring, in the exilic experience of oscillating between there and here, between then and now, between a lost and a newly acquired home. ‘Will my heart be big enough to bridge the distance?’, we hear him ask while looking at the world map and using his fist as measure, as he prepares to return to his hometown after an absence of thirteen years. It is this sense of displacement, of a belonging never fully attained, that resounds in Elias Grootaers’ Inside the Distance. Spaces find themselves diffused and multiplied into patterns of lines and dots, no longer knowing centre from margin. Human figures dissolve into plays of shadows and silhouettes, where they come to waver between actual presence and virtual absence, as if the play of framing and masking, of fragmenting and multiplying, evokes a perpetual state where bodies are never really ‘at home’. Perhaps this exploration of cinematic spaces, where identity and temporality become unsettled, ultimately corresponds to the experience of what one of Giorgi’s friends describes as ‘floating through life’: a poetics of dislocation.”

Stoffel Debuysere1

 

“Die collagevorm zit ook in de documentaire zelf, een werk van lange adem waarin we fragmenten uit Shaksuvarians bestaan te zien krijgen: zijn trainingen en kampen met Junior Bauwens, de telefoongesprekken met zijn zoon, de nieuwe ontmoeting met zijn familie in Georgië. […] Het is een beetje een verbrokkeld proces geweest, besluit Grootaers. ‘Maar dat was ook een beetje de insteek van de film: net zoals de collages aan de muur van zijn vroegere appartement en de collages die zijn trainingsschriftjes zijn, is de film dat ook een beetje. Op het einde van de film zegt Giorgi tegen zijn zoon: “Jij bent niet jij”. Waarmee hij bedoelt: elke mens is een collage, een samenstelling van verschillende elementen, misschien wel zonder kern. Dat idee van de mens als collage, dat vind ik een heel mooie manier om naar de wereld te kijken.’”

Edwoud Ceulemans in gesprek met Elias Grootaers2