Simone Fürbringer

The highway, revisited. Years later. Transformation of a locale. A place of mobility that, in the meantime, has become a place of silence.

What story is hidden in the stranded suitcase full of pictures, sounds and letters whose origins we do not know? The film is an homage to cinema, a film poem made up of images between dream and reality; a network of sounds, text fragments and voices that leads far out into the world and at the same time close to us. Aren’t we all floating islands?

In May of 1982 Julio Cortázar, the Argentinean writer and his companion in life, Carol Dunlop set out in their VW bus on a journey along the highway from Paris to Marseille that, for each of them, was to be their final one. Twenty-five years later, Océane Madelaine and Jocelyn Bonnerave set out to undertake the journey again.

Author and activist Milo Yellow Hair (Oglala Lakota) is one of the most important intellectual voices of the American Indian resistance movement. Born in 1950 and raised on the Pine Ridge Reservation, he has dedicated himself to the struggle for the recognition and survival of indigenous cultures. We spent an afternoon asking him questions on the theme of memory and cultural identity. Memories are not what has passed, but are the cutting edge between past and present. Never before has so much information been saved and forgotten at the same time. What happens when we lose the memory of our heritage? Is it preserved in collective memory and made accessible in the challenges of the future?

An African backyard, the stage of life. Rhythms rise up from everywhere, interweave with one another. It is a daily dance of gestures and sounds that has something eternal. The music of life is omnipresent and leads us to the heart of Africa.

A film that ressembles a dream. Shot over a period of several years, it is composed of fragments of memory and moments of life woven together to create a sequence of microscopic stories. “Vagabonding Images” is a film that plays with the forms of cinematic language inspired by the poetic collage techniques of the French Surrealists and Japanese Haiku poets.

The highway, revisited. Years later. Transformation of a locale. A place of mobility that, in the meantime, has become a place of silence.

The highway, revisited. Years later. Transformation of a locale. A place of mobility that, in the meantime, has become a place of silence.

What story is hidden in the stranded suitcase full of pictures, sounds and letters whose origins we do not know? The film is an homage to cinema, a film poem made up of images between dream and reality; a network of sounds, text fragments and voices that leads far out into the world and at the same time close to us. Aren’t we all floating islands?

What story is hidden in the stranded suitcase full of pictures, sounds and letters whose origins we do not know? The film is an homage to cinema, a film poem made up of images between dream and reality; a network of sounds, text fragments and voices that leads far out into the world and at the same time close to us. Aren’t we all floating islands?

What story is hidden in the stranded suitcase full of pictures, sounds and letters whose origins we do not know? The film is an homage to cinema, a film poem made up of images between dream and reality; a network of sounds, text fragments and voices that leads far out into the world and at the same time close to us. Aren’t we all floating islands?

In May of 1982 Julio Cortázar, the Argentinean writer and his companion in life, Carol Dunlop set out in their VW bus on a journey along the highway from Paris to Marseille that, for each of them, was to be their final one. Twenty-five years later, Océane Madelaine and Jocelyn Bonnerave set out to undertake the journey again.

In May of 1982 Julio Cortázar, the Argentinean writer and his companion in life, Carol Dunlop set out in their VW bus on a journey along the highway from Paris to Marseille that, for each of them, was to be their final one. Twenty-five years later, Océane Madelaine and Jocelyn Bonnerave set out to undertake the journey again.

Author and activist Milo Yellow Hair (Oglala Lakota) is one of the most important intellectual voices of the American Indian resistance movement. Born in 1950 and raised on the Pine Ridge Reservation, he has dedicated himself to the struggle for the recognition and survival of indigenous cultures. We spent an afternoon asking him questions on the theme of memory and cultural identity. Memories are not what has passed, but are the cutting edge between past and present. Never before has so much information been saved and forgotten at the same time. What happens when we lose the memory of our heritage? Is it preserved in collective memory and made accessible in the challenges of the future?

Author and activist Milo Yellow Hair (Oglala Lakota) is one of the most important intellectual voices of the American Indian resistance movement. Born in 1950 and raised on the Pine Ridge Reservation, he has dedicated himself to the struggle for the recognition and survival of indigenous cultures. We spent an afternoon asking him questions on the theme of memory and cultural identity. Memories are not what has passed, but are the cutting edge between past and present. Never before has so much information been saved and forgotten at the same time. What happens when we lose the memory of our heritage? Is it preserved in collective memory and made accessible in the challenges of the future?

An African backyard, the stage of life. Rhythms rise up from everywhere, interweave with one another. It is a daily dance of gestures and sounds that has something eternal. The music of life is omnipresent and leads us to the heart of Africa.

An African backyard, the stage of life. Rhythms rise up from everywhere, interweave with one another. It is a daily dance of gestures and sounds that has something eternal. The music of life is omnipresent and leads us to the heart of Africa.

A film that ressembles a dream. Shot over a period of several years, it is composed of fragments of memory and moments of life woven together to create a sequence of microscopic stories. “Vagabonding Images” is a film that plays with the forms of cinematic language inspired by the poetic collage techniques of the French Surrealists and Japanese Haiku poets.

A film that ressembles a dream. Shot over a period of several years, it is composed of fragments of memory and moments of life woven together to create a sequence of microscopic stories. “Vagabonding Images” is a film that plays with the forms of cinematic language inspired by the poetic collage techniques of the French Surrealists and Japanese Haiku poets.

"To make a film means to invent a music of pictures, sounds and rhythms; means to compose visual values, that have no equivalents in other art forms," wrote Marcel L’Herbier in the thirties. To plumb the possibilities that lie within the film material itself is what, for me, accounts for the meaning as well as the desire to work in film. Film as the disclosure of a fantastic world which the spectator can dive into and, ideally, have his imagination kindled. ONG DONG DREOKA is a game with images, a carousel that turns, a magic spell, a memory, for adults, of childhood." -Simone Fürbringer

"To make a film means to invent a music of pictures, sounds and rhythms; means to compose visual values, that have no equivalents in other art forms," wrote Marcel L’Herbier in the thirties. To plumb the possibilities that lie within the film material itself is what, for me, accounts for the meaning as well as the desire to work in film. Film as the disclosure of a fantastic world which the spectator can dive into and, ideally, have his imagination kindled. ONG DONG DREOKA is a game with images, a carousel that turns, a magic spell, a memory, for adults, of childhood." -Simone Fürbringer