Sunlight Vandalism presents two narratives woven together to reveal a diverse portrait of Cyprus and the intricacies of Mediterranean migration. This includes a conversation with a Kurdish mother named Ayşe, who requested asylum in Cyprus in 2007. Speaking in Turkish Cypriot with Xenofontos—who responds in a Greek Cypriot—Ayşe is depicted swiping through images of her new home in Ankara, Turkey, where she has since relocated. The second portion of the film follows Ayşe in her space of work, where she is a cleaner in a local school, and in her living room, where Xenofontos interviews her in front of her wall of images of Abdullah Öcalan—a once prominent yet controversial leftist political figure. Through these vistas, Sunlight Vandalism reflects on the labor of domesticity and the precarity of settling during politically motivated migration.

Sunlight Vandalism

United States

Albania

Algeria

Andorra

Angola

Antigua and Barbuda

Argentina

Australia

Austria

Azerbaijan

Bahamas

Bahrain

Barbados

Belarus

Belgium

Belize

Bermuda

Bolivia

Bosnia and Herzegovina

Brazil

Bulgaria

Burkina Faso

Cameroon

Canada

Cape Verde

Chad

Chile

Colombia

Congo

Costa Rica

Cote D'Ivoire

Croatia

Cuba

Cyprus

Czech Republic

Denmark

Dominican Republic

Ecuador

Egypt

El Salvador

Equatorial Guinea

Estonia

Fiji

Finland

France

French Guiana

French Polynesia

Germany

Ghana

Gibraltar

Greece

Guatemala

Guyana

Holy See

Honduras

Hong Kong

Hungary

Iceland

India

Indonesia

Iraq

Ireland

Israel

Italy

Jamaica

Japan

Jordan

Kenya

Kosovo

Kuwait

Latvia

Lebanon

Libyan Arab Jamahiriya

Liechtenstein

Lithuania

Luxembourg

Macedonia

Madagascar

Malawi

Malaysia

Mali

Malta

Mauritius

Mexico

Moldova

Monaco

Montenegro

Morocco

Mozambique

Netherlands

New Zealand

Nicaragua

Niger

Nigeria

Norway

Oman

Pakistan

Palestinian Territory

Panama

Papua New Guinea

movies/sunlight-vandalism-2018

Sunlight Vandalism

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