{"id":4393,"date":"2018-11-12T19:35:20","date_gmt":"2018-11-12T19:35:20","guid":{"rendered":"https:\/\/www.doclisboa.org\/2019\/?p=4393"},"modified":"2018-11-23T19:49:05","modified_gmt":"2018-11-23T19:49:05","slug":"sailing-the-euphrates-now-on-docalliance","status":"publish","type":"post","link":"https:\/\/www.doclisboa.org\/2019\/en\/sailing-the-euphrates-now-on-docalliance\/","title":{"rendered":"Sailing the Euphrates, now on DocAlliance"},"content":{"rendered":"

Doclisboa takes part in a European festival structure, DocAlliance<\/a>, with its own online channel. Where now, and over the next two weeks, you can see some of the films selected for Doclisboa’18 thematic focus, curated by co-director Davide Oberto, under the title Sailing the Euphrates, Travelling the Time of the World<\/a>:<\/p>\n

Yol: the Full Version<\/a>, Yilmaz G\u00fcney, \u015eerif G\u00f6ren
\nPalme d\u2019Or at Festival de Cannes in 1982 (ex-aequo with Missing, by Costa Gavras), the film was shot by \u015eerif G\u00f6ren, long-time assistant of G\u00fcney, at the time in prison, and edited in France to where he managed to escape. A tale of a group of released prisoners dealing with military dictatorship in Turkey and the annihilation of Kurdish people. Banned for 35 years in Turkey, the film was restored and premiered in Cannes in 2017.
\nBuvards<\/a>, A\u00efda K\u00e9badian, Jacques K\u00e9badian
\nA\u00efda K\u00e9dabian\u2019s paintings tell stories. This video editing tells some of them, between uprooting and wandering.
\nArm\u00e9nie 1900<\/a>, Jacques K\u00e9badian
\nUsing photos, engravings, drawings and letters, K\u00e9badian creates an imaginary family album of an Armenian child on the eve of the genocide of 1915.
\nColombe et Av\u00e9dis<\/a>, Jacques K\u00e9badian
\nAv\u00e9dis lived in Meudon, and every week he would go to the tomb of his wife, Colombe. Serge Avedikian, his grandson, tells their life of Armenians in France: a love story. (Pictured)
\nLes Cinq Soeurs<\/a>, Jacques K\u00e9badian
\nChouchan K\u00e9badian began to paint at the age of 70. A desolate, but fascinating painting, with oriental and musical colours, composing her portrait.
\nThe Marshes<\/a>, Kassem Hawal
\n\u201cIn 1992, responding to uprisings against the so-called \u201cGulf War\u201d, dictator Saddam Hussein ordered the uprooting of reeds and papyri in an area named Al Ahwar (the Marshes), and forced the people to the border with Iran. Then he dried the whole area destroying a five thousand-year-old habitat. Just before doing so, he ordered all the negative and positive copies of my film to be burnt.\u201d Kassem Hawal
\nSound<\/a>, Kassem Hawal
\nLike a blurry watercoulor, the Euphrates painted the lands he touches with the shades of exile.
\nAmerican Military Mission to Turkey and Armenia: the Expedition of John Harbord in Armenia<\/a>, US Department of Defense
\nIn August 1919, John Harbord is sent by President Woodrow Wilson to the Middle East to investigate the feasibility of the Balfour Declaration. He is also to report on Turkish-Armenian relations in the wake of the Armenian Genocide. \u201cThe footage is a remarkable record of an area wrecked by war (\u2026). In the end, Congress ignored Wilson\u2019s mandate request, paving the way for the Soviet invasion of 1922.\u201d (Jay Weissberg)
\nMore on DocAlliance here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Doclisboa takes part in a European festival structure, DocAlliance, with its own online channel. Where now, and over the next two weeks, you can see some of the films selected for Doclisboa’18 thematic focus, curated by co-director Davide Oberto, under the title Sailing the Euphrates, Travelling the Time of the World: Yol: the Full Version, …<\/a><\/p>\n","protected":false},"author":2,"featured_media":4389,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[],"_links":{"self":[{"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/posts\/4393"}],"collection":[{"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/comments?post=4393"}],"version-history":[{"count":0,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/posts\/4393\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/media\/4389"}],"wp:attachment":[{"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/media?parent=4393"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/categories?post=4393"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.doclisboa.org\/2019\/en\/wp-json\/wp\/v2\/tags?post=4393"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}