Les choses d’une vie, exercises d’archéologie intime

The screening, presented as part of FIFEQ-Montréal’s 22nd edition, will be followed by a discussion. Free entrance: first come, first served!

I WALK WHILE GLACIERS MELT

Lucia Lambarri Barberis
2025 / Peru / 9 min / Spanish

In the heart of the Andean mountains around Cusco, a landscape of snow-capped peaks and glaciers unfolds. Through a blend of footage shot on location and animation, director Lucia Lambarri Barberis weaves a sensitive narrative where direct observation, memory, dreams, and inner voice converge. Walking thus becomes an act of listening and connection. Step by step, the film draws upon Andean cosmologies, ritual gestures, miniatures, and pilgrimage routes to explore what it means to traverse a changing landscape in the era of melting ice. In a contemplative journey, this crossing invites us to question modernity and rethink our place in the world, while celebrating this shared experience.

I WAS THERE

Kamila Kuc
2024 / Poland / 12 min / Polish, English

I Was There is a poignant exploration of family ties, intergenerational memory, and the lasting impact of shared stories. Filmmaker Kamila Kuc delves into the emotional currents of inherited family history, as the boundaries between documentary, testimony, and fiction blur. She bears witness not only for herself, but also on behalf of her grandmother. Together, they recount their experiences and the repercussions these stories have had over time. The film is a multi-layered tapestry where past and present intertwine in the intimate process of invoking memory and vulnerability as forms of resistance. It pays homage to the legacy of ancestral testimony and to the living bond that unites generations in the shared quest for justice and healing.

THINGS OF A LIFETIME, INTIMATE ARCHAEOLOGICAL EXERCISES

Céline Ségalini
2025 / France / 51 min / French

After her grandmother’s death, director Céline Segalini sets out to film the house she leaves behind. By observing, sorting, counting, and arranging the objects that inhabit the various rooms, she attempts to preserve what remains and to reconstruct, through these material traces, the portrait of a woman who has remained, in part, a mystery to her. As this meticulous inventory unfolds, new facets of her grandmother emerge. Objects, clothes, mementos, and fragments of daily life become silent clues to buried stories. In their interstices, a broader memory takes shape, revealing French colonial and postcolonial legacies marked by racial and identity-based categorizations.