FELICITY OF A RICE GRAIN

margreet-kramer
FELICITY OF A RICE GRAIN
Visual artist Margreet Kramer’s camera focuses, often literally, on daily rituals and their meaning. Themes such as the masses versus the individual and human vulnerability play a defining role in her work.The film FELICITY OF A RICE GRAIN shows us symbols of luck from various cultures. For the Armenian people, the pomegranate is an important symbol of luck. Throwing rice is a symbol of love and happiness in both the East and the West.

  • Margreet Kramer
    Director
  • Miel van Welzen
    Producer
  • Eline Bakker:editor
    Key Cast
  • Project Type:
    Experimental, Short
  • Runtime:
    8 minutes 4 seconds
  • Completion Date:
    November 1, 2017
  • Production Budget:
    7,000 EUR
  • Country of Origin:
    Netherlands
  • Country of Filming:
    Netherlands
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Distribution Information
  • https://vimeo.com/margreetkramer
    Rights: Internet
Director Biography - Margreet Kramer

Margreet Kramer, visual artist Margreet Kramer lives and works in Amsterdam The Netherlands

Education
Gerrit Rietveld Academy, Amsterdam, graduated 1995
Open Studio and Crea (Documentary), Amsterdam, 1990-1993
Vrije Universiteit Amsterdam (History of Art), Amsterdam, 1988-1989

Selected/Nominations
2014 europeancultureseries.net DE KUS
2014 Toronto Urban Film Festival, (TUFF) video DE KUS CAN
2012 The One Minutes Awards ME
2010 Ten year The One Minutes, KadE Amersfoort Miss. B
2007 700IS: Experimental filmfestival Iceland SHE AND ME

Curator/organization/other
2013 Jury member of the Derde Bildts Kortfilmfestival
2012 Docent Video Workshop Anne Frankschool Amsterdam
2011 Docent Noordjes Kinderkunst
2009 AkzoNobel Freelancer (2009 until now)

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Director Statement

To whom does the space in between one’s fingers belong? Around the body, just outside the skin, it’s no man’s land. An area that is not claimed by anyone. Where is the line between no man’s land and the outside world? Does this line define the buffer between the individual and the things around us? Margreet Kramer tampers with the size of this no man’s land, the buffer. Both with herself and others. The size of a human, not the grandeur of the world, is the true measurement. She moves boundaries and pushes them further, pulls them closer. She peels, scrapes and shells, in order to get as close as possible to others, the things around her and herself. Only in that vulnerability one can truly use ones senses and connect with others. You reach the inside, the vulnerability, the essence. Your body’s memory, the memory that cannot renounce itself. It blushes, trembles, stammers, longs to be touched and keeps breathing. One knows and recognizes oneself in these acts.
The body has memorized. Daily activities that we do not have to learn anymore, that stem from a series of other acts. Unparalleled, inevitable. A shirt on one’s naked skin. Hands that touch. Hands that peel potatoes. A cleaner who operates the buttons and yet makes the garbage disappear. Breath.