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March 28th – April 2nd, 2017 / Cinema Muzeul Țăranului & Cinema Elvire Popesco / the 7th edition

THE STORY OF LITTLE HANS

Directed by: 
DANIEL DJAMO
7'
Cinema Elvire Popesco - Wednesday, March 29, 2017 - 21:00
Cinema Muzeul Țăranului - Friday, March 31, 2017 - 21:00
Written by: 
Daniel Djamo
Cast: 
Sana Ghobbeh, Sujin Lim, Huda Takriti, Wu Wei, Daniel Djamo, Tatev Sahakyan
Cinematography: 
Daniel Djamo, Sana Ghobbeh, Huda Takriti
Editing: 
Daniel Djamo
Producer: 
Daniel Djamo
International Premiere
Dry-humoured, purposefully childish and unapologetically critical, The Story of Little Hans marks Romanian visual artist Daniel Djamo’s third return in the BIEFF competition. Loosely inspired by the eponymous story collected by the Brothers Grimm, the short makes use of the deceitfully naïve tone of fairy-tales to investigate how national identities are changing in light of the current political climate. A young golden-locked Austrian boy (played by Djamo himself) skips along the woods, unaware of the fiendish immigrants and refugees out to devour him. Depriving us of a saving plot twist, the short delivers a cynical punchline, drawing attention to the absurdity of the stories we choose to tell about current events and how they inherently shape who we are. (Diana Mereoiu, BIEFF 2017)
Director: 

Daniel Djamo

Born in 1987 in Bucharest, Daniel Djamo is a Romanian artist and filmmaker, interested in personal and group histories and in themes such as national identity. Winner of the 2013 ESSL ART AWARD CEE, he had solo exhibitions in Glasgow, Leipzig, Kassel, Torino, Bucharest, Timisoara and Kuala Lumpur. His videos have been screened in numerous video art and film festivals and won several awards. Currently, he completes his PhD at the National University of Arts Bucharest. 

Contact: 
dndjamo[at]yahoo[dot]com
Curatorial comment:
National identity is often perceived as a static affair. It’s a given, the ideal material for jokes and swear talk. Daniel Djamo unveils precisely this preconception, that is the permanence of identity, and deliberately borders on the ridicule to show identity as a work in progress, even more so in the light of the recent humanitarian crisis. The film is based on the fairy-tale collected by the Brothers Grimm, in which the protagonist, ironically named Clever Hans, loses all the gifts from his fiancée, eventually her as well, because he doesn't know how what to make of them. At the same time, knowingly or not, the film recalls Sigmund Freud’s case study in which a boy, Hans, develops a fear of castration (manifested as a fear of horses), as well as the Clever Hans Effect, wherein researchers can involuntarily influence their subjects’ behaviour according to their expectations of the outcome. Therefore, Djamo’s ironic reinterpretation unveils a fear towards a loss of potency, an incapacity to appreciate and manage the gifts i.e. privileges received and a tendency to involuntarily imprint patterns of behaviour on others, proving itself as a multi-layered and incisive political commentary. (Diana Mereoiu, BIEFF 2017)