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Regie: Fernando Mitjans | Buch: Fernando Mitjans
Vereinigtes Königreich 2015 | OmeU | 40 Min.
United Kingdom 2015 / 39 min / DCP / OV
Director, Script, Editor, Production: Fernando Mitjáns; Cinematography: Fernando Mitjáns, Grant Allen; Sound: Pet Grotesque

At five in the morning, before any professor or student enters the building of the well-established SAOS University in London, a lot of work needs to be done: Cleaning toilets, corridors, desks and even the streets outside. But those who prepare the working places of thousands of Londoners, mostly stay invisible earning 2£ less than the minimum wage of 7.20£ in London. They come from different Latin American countries, but their determination to fight labor exploitation derives from the common experience of discrimination within a country that needs their work, but does not want to value it. When an empowering resistance grows, the prestigious university, well known for championing in human rights, must take sides. But instead of showing solidarity with the workers, the university impairs the conflict.
After moving from Cuba to London seven years ago, Fernando Mitjáns studied postcolonial culture and global policy. He felt the need to portray the huge gap between expectations and reality of migration from Latin-American countries and found himself in the middle of this worker’s struggle.

USA 2002 / 53 min / OF
Regie, Kamera, Ton, Montage: Travis Wilkerson, Produktion: Up Front Films, Ann Arbor, MI/USA

A miners’ strike is brewing in Butte, Montana, in the revolutionary year of 1917. Tens of thousands of men have already lost their lives in the copper mines of the Anaconda Mining Company. The radical union Industrial Workers of the World (IWW) takes up the fight for better working conditions and improved safety in the mines. When their activist Frank Little gives blazing speeches and calls for a strike, he is brutally lynched. The perpetrators are never found, many unionists are imprisoned for years, and laws are tightened, although workers did not use any violence.
AN INJURY TO ONE is a requiem for solidarity in which language, music, and imagery work together in a subtle choreography. All evidence of the events has since been lost, the official history written by the mining company. Travis Wilkerson arranges the few remaining pictures – a handful of photographs and film shots of the town and mining landscape, newspaper articles, and mug shots of unionists – in a montage, narrating the story that begins with the dawn of industrialization in a voice completely void of preachiness. Traditional miners’ songs break up the film into chapters, the lyrics appearing on screen (but not sung) in time with the music. Many different complex strands of thought are artfully conveyed using the simplest filmic means. Wilkerson’s thesis film project at CalArts (his advisors were Thom Anderson, Hartmut Bitomski, and Billy Woodberry) was regarded as one of the best avant-garde films of the decade by the magazine Film Comment.