Ciné-kinship is a form of affinity and relation that evolves from common interest in various aspects of cinema. It also relates to a certain cinema and archival practice that goes beyond producing and watching film but also develops on a kind of cine-ontology based on a vision of encounter as abundance. Cine-kinships value the areas of relation and in betweenness as a place to inhabit the commons in alternative to the sense of scarcity projected onto the neo-liberal individuum. Cine-kins don't ignore asymmetries and the different positions of those in relation, but prefer to create spaces to inhabit those troubles and conflicts we are all systemically exposed to. Ciné-kins see cinema as a potential place to imagine forms of togetherness and justice beyond identitarian politics, and trust that it is in the creole entanglement that we all can meet and become.
luta ca caba inda
Luta ca caba inda: Is a deliberately imprecise term, for it is a force. The project around the Guinea militant archive was titled Luta ca caba inda (The struggle is not over yet), after one set of reels found in the archive, a documentary film from 1980 on post-independence Guinea-Bissau abandoned in the editing process. The title cursed the completion of the film, the struggle and also this never to be finished project. In the course of the Luta ca caba inda project a series of discursive events and public screenings have been dedicated to activating the potencies of this collection. Luta ca caba inda, as a informal collective of people and praxis, enables an ecology of relations and spaces of care and subjectivity to emerge, materializing in collective assemblies where images and sounds of the archive are discussed between the filmmakers, and European and African audiences. Here the cinema acted as a collective editing room and assembly for reflecting on conditions of the present and projecting new futures.