In 1996, the filmmaker journeyed to the city Salvador de Bahia – the African heart and soul of Brazil – seeking the identity of the spirits who haunt his dreams. Twenty years earlier, his mother had made a para-lel journey when she migrated with the family to Tanzania, East Africa, in search of a mythic motherland. Shot entirely on silent Super 8mm film by three generations of an African American family, That’s My Face creates a mythopoetic feast of selfdiscovery. Its innovative sound design uses rap and hip hop strategies of multi-voice sampling to magically traverse three continents and 30 years. [aus dem Forumprogramm]

Here is the narrative of why I choose super 8mm film (or how it choose me)

When I set out to make this film, I had no idea of the shape or the form it would take. I just knew that I was compelled to go to the City of Salvador Da Bahia, Brazil, that something there was calling me.

I decided to shoot on super 8mm for a variety of reasons (some of which I was aware of and others would only become apparent much later).
I had become enamored with the texture of super 8 from my earlier documentary VINTAGE.I - Families of Value (shot on high 8mm video and super 8mm film.) I liked the simplicity of super 8 and the lightweight of the camera. On a rational level, I also knew that with an old beat up super 8 camera I was less likely to stand out as a tourist in Bahia than if I had the latest model of digital video camera. I also didn't want to have to rely on sound to make the film. I didn't want to think in terms of interviews (or talking heads) but was looking for another way of eliciting information from others and myself-particularly as my Portuguese was so not very good. The silent super camera prompted me instead to engage in performatively with my environment. The camera itself became an interactive tool --producing images that were at once intimate and spontaneous producing a kind of super 8 diary.
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Was it a coincidence that it ended up being entirely shot on super 8mm or divine providence?  Probably a combination of the two.

For my next film, a sex comedy entitled "On The DL" I will definitely shoot on DV chiefly because of the cost and flexibility it provides me as an independent filmmaker who has a great script and an innovative directing style. But i'm sure that as I shoot "On The DL" I will still have those super 8mm image haunting me somewhere deep inside.