Waking Hours
Spanish premiere.
Introduction and Q&A with Federico Cammarata and Filippo Foscarini (filmmakers) and Margot Mecca (film programmer).
A forest on the border with Serbia. On one side, the Schengen area. On the other, the night is inhabited by passeurs, smugglers who lie in wait, calculating the best moment to cross. From the depths of darkness, they cast a merciless gaze upon Europe.
A handful of lights cut through the black frame, sketching the uncertain outlines of a camp inhabited by silhouettes who tell stories, strike deals, and talk to those who are far away. In this area on the edge of Europe, spatial and temporal references are lost; the night becomes a blurred territory, connected yet remote, animated by the sounds of animals and humans. A night that both conceals and protects, yet remains exposed to the violent gaze of thermal cameras. In it, voices become landscape —made up of confessions, intimacy, and everyday conversations— while the presence of the border lurks, like a silent danger. Filippo Foscarini and Federico Cammarata paint a portrait of a dually liminal zone, hidden from those who live on this side of fortress Europe, endowing the shadows with presence. The cinema hall becomes a device that forces us to examine what we cannot see. And from the depths of the forest's darkness, the humanity inhabiting it returns an atrocious, unrelenting gaze.
Margot Mecca
In the same program
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