CHAPTER 5: DAUGHTERLANDS

↓ Lot of similar vibe of the beginning, but this time more playfull, seeing more of that envrioment, really exploring it, through film

↑ Location Grasenerf is similar of character and of feeling as Piet Udolf. So these videos are great inspiration of how to film details of plants

↑ Shots through the plants!

↑ This mirror is there! Intresting to play with for sure

Hands, touching, caring, becoming part of this landscape but being lost in it

We return to the landscape in the beginning of the film: The fictional and non-fictional land of Daughterlands

We must recognize plant nature is queer nature. A queer nature made of peculiar, twofold bodies: a subterranean body that pushes through the soil and recedes into the darkness, an aerial body that grows upwards and reaches for the light.

And in that space of a plant, you will find the migrant too, as she ‘mediates, in a lived tension,
the experiences of separation and entanglement,
of living here and remembering/desiring another place.’
Here, the past is never finished.

The protagonist looks at plants, touches and caresses them, and cares for them, looks at them from upside down.

She dances in this place where the biodiversity is so wast and rich, that she feels incredibly content.

This place, created in the dispersal of its Motherlands,
Still nurtured by the foreign
But pulled ancestors
Roots grow skywards

She looks at Mirrors in the ground create, through which you can see the sky

That’s where you will find daughterlands

just underneath your bootsoles
that thin layer of surface that separates below and above. -
where the sky caresses the earth's horizon

It is a collectively imagined cartography of identities that collapses time and space.
A place for those that carry a dual tension within the borders of their body.

As she touches the plants with her fingers, memories pop up, of herself, of her grandmother, of Rotterdam and Kyiv.