Film screening of Imprinted directed by Linda Paganelly The film will be introduced by Dr Mattia Fumanti (Department of Social Anthropology) and will be followed by Q and A with the film director.

Linda Paganelli is an Italian artist, visual anthropologist, and experimental filmmaker based in Berlin. She holds a Master's degree in Visual Anthropology from Goldsmiths, University of London. Her work, which explores narratives of resistance in conflict zones such as Afghanistan, the Middle East, the Western Balkans, and Europe, has been presented at international festivals, galleries, museums, and conferences. Her practice is deeply rooted in a decolonial queer-feminist perspective, with a particular focus on migration, belonging, socio-political violence, and human–nature relations.
‘Imprinted' is a short ethno-fiction that employs a non-human perspective where the main characters are spaces/lands/locations. Jasenovac (former concentration camp run by the Ustaša regime of the Independent State of Croatia/ now memorial site). Staro Sajmište – Old Fairground (former Belgrade fair/ former concentration and detention camp/ housing space for workers/ co-working space for artists/ now commercial property and urban slum). Stara Gradiška (former prison/ former concentration camp for women and children run by the Ustaša regime of the Independent State of Croatia/ former prison for political prisoners during the Communist Yugoslavia 1945-1980s/ former prison (1991-1993) run by the Krajina rebels and with the assistance of the Banja Luka Corps of the then Yugoslav National Army during the 1990s war/ now abandoned). The film tries to untangle the multiple layers of the contested pasts — be it in numbers of the victims or the grade of the committed atrocities. It addresses the idea of a multiplicity of truth by implicitly referring to different readings of history through political, ideological, or biographical lenses. The film argues against the reduction of the space to only one moment in the past and only one perspective. It skips the historical and political struggle for recognition that has been enduring in both countries of Croatia and Serbia since the wars (WW2 and 1990s), in moving towards memories, visions, and feelings. The film explores the WW2-former concentration camps whose past is feelingful in the present. Human and non-human dimension blend into the aural presence(s) of nature that destabilizes the privileged historical position of the human. That is why the filmic point of view does not want to be complete and explanatory but poetic and sensorial. In this way, this view multiplies in different sets of eyes through which the audience can re-approach the spaces and their never-ending pasts.