2022 Festival Internacional de Cine Cámara Lúcida

<p>Arnaud, the director&rsquo;s brother, has always been tempestuous. The adults looked at him as if he was always screwing up and he ended up proving them right, embracing the expectation. For this film, it all started when Arnaud went to a closed educational center and Laure to the Institut Sup&eacute;rieur des Arts. She has been filming her brother ever since. Fifteen years and many difficult moments later, here is a film about, by and with Arnaud.</p>

<p>There is a geography of miracles. Jonasz studies insects and fishes, Signe leaves and herbs. After a day spent in gardens and libraries, they meet, take the train and leave the city, pitching their tent on the shores of a lake. As they read, eat fruit, wander the forest and swim in the cold water, the outside world feels further and further away. A stranger appears and a trio is formed. But there are also other trios, other lakes, different places, different times.</p>

<p>&quot;This story is true. I give it as it is, with embellishments.&quot; This sentence, the keystone of A Woman Escapes , is by Audrey Benac and diverts the famous opening line of Robert Bresson&#39;s A Man Escaped. Sofia Bohdanowicz&#39;s alter ego, lonely and grieving, Audrey wanders through the Parisian apartment of her recently deceased friend Juliane. Over views of Istanbul, Burak&#39;s deep voice evokes a package received by mistake, intended for Audrey/Sofia, sent by a certain Blake: a small 3D camera. Images of the young woman on a bus speeding through the landscape then mark the beginning, not only of a correspondence, but of a film that makes circulation &ndash; images, sounds, dreams &ndash; its driving force. The voices of the three characters mingle with the interlacing of stereoscopic views, 16mm film grain, and 4K images, in an exchange articulated according to the motif of braiding &ndash; like the challah cooked by Audrey. As announced in the opening, A Woman Escapes abandons Bressonian austerity and fully embraces the ornaments of its fiction &ndash; detours and artifices, profusion of images and colors. Quotation and reuse are the logic of staging this palimpsest film, as seems to be illustrated by the first letter sent by Blake to Audrey, which describes Nam June Paik&#39;s Zen for Film , a work in constant reinvention as alterations and dust accumulate on a blank film. Cards that range from blue to red (the colors of 3D glasses) through a whole range of magentas, from the first images showing Juliane&#39;s gestures to the last, where these same gestures are repeated by Audrey, A Woman Escapes draws a trajectory that seems to make cinema a manifesto for healing.</p>

<p>A muleteer and more than a thousand sheep cross cliffs and rivers to reach the heart of the Andes Mountains. Once at the top, in a small flooded valley, the muleteer feels the loneliness and the passage of time from daily tasks. Little by little he begins to lose himself in the mountains, while dreams appear like ghosts.<br /> This 16mm film is the poetic portrait of the life and dreams of a muleteer.</p>

<p>In 2010, the fire at the San Miguel prison in Chile left 81 inmates dead. The documentary offers full access to the archives of the incident, which reveal the precariousness of the prison system in Latin America and the tragedy of those days.</p>

<p>As an excursion to the work of botanical and film preservation, &quot;Herbaria&quot; explores in its invisible processes the artistic and political derivations that connect them.<br /> Sustained in a narration where times and spaces seem to merge, the records invite us to the fascinating universe of preserving the beauty and memory of a world that insists on disappearing.</p>

<p>Composed of serious and funny musical scenes, an exploration of the virtues of translation and desire for communication between humans and birds. Told by a narrator from the future, after the sixth mass extinction, an observation of the attempts made to establish a possible exchange.</p>

<p>Time seems to stand still in a village in the Galician coast. Everybody there is paralysed although we can still hear their voices: they talk about ghosts, about witches, about monsters. Three women show up, they are trying to find Rubio, a sailor that has recently disappeared in the sea.​</p>

<p>This is the story of a film-making dog. In a series of return trips between Brittany and Lisbon, the protagonist, along with a producer, conjures up a film through the prism of ethology, in search of the sincerity of the animal gaze. An animal comedy that includes hundreds of images of dogs that have appeared in films over the history of cinema.</p>

<p>Surprising links between borescopic imagery of an underground Cold War&ndash;era bunker and human laparoscopic footage lead this investigation of distance and death to hidden new depths, as a surgeon father in Ecuador and filmmaker son in Belgium connect during COVID-19. Empty cavities, inside the body and under the city, leave space to understand what matters most in life: time.</p>

<p>Built in 1965 and located on Juan de Garay Avenue in the San Telmo neighborhood of Buenos Aires, a residential building holds an extraordinary mystery that is part of the daily lives of its residents. An archetypal secret intertwines the lives of Garay&#39;s residents, whose stories are intertwined with Argentine folk history, isolation, and imagination.</p>

<p>A hermit lives in solitude within the dense, misty forests of Southern Appalachia and the infernal fires of a glass foundry. Here the phenomenological lines between real and imaginal realms blur as a cosmic flame continues to swell.</p>

<p>&ldquo;Bang! Bang! Bang! I broke your heart!&rdquo; the Woman screams at the camera. She&rsquo;s just playing, teasing, it doesn&rsquo;t seem like she misses the love of her life. Some time ago, The Man, a beekeeper, broke up with her. They see each other sometimes, but only as friends. She remembers his last words, the clothes he wore, and draws his face on a blank sheet of paper&hellip; It&rsquo;s not enough: he&rsquo;s not with her. A Dog alleviates the situation, but it&rsquo;s not enough. She remembers a song that connected her to the man, a song that makes her think that &ldquo;they could meet again and be together,&rdquo; that&rsquo;s what she would like.</p>

<p>A photographer is called by a union leader to record a demonstration that ends in a state-sponsored massacre. The photographed material and the photographer must be taken to safety.</p>

<p style="text-align:start"><span style="font-size:11pt"><span style="font-family:Helvetica,sans-serif"><span style="color:#000000"><strong><span style="font-size:12pt"><span style="color:#18191a">Synopsis:</span></span></strong></span></span></span></p> <p style="text-align:start"><span style="font-size:11pt"><span style="font-family:Helvetica,sans-serif"><span style="color:#000000"><span style="font-size:12pt"><span style="color:#18191a">: Analogue image and sound composition.</span></span></span></span></span></p> <p style="text-align:start"><span style="font-size:11pt"><span style="font-family:Helvetica,sans-serif"><span style="color:#000000"><span style="font-size:12pt"><span style="color:#18191a">:: Illusion of movement. Apparition. Dispersion.&nbsp;</span></span></span></span></span></p> <p style="text-align:start"><span style="font-size:11pt"><span style="font-family:Helvetica,sans-serif"><span style="color:#000000"><span style="font-size:12pt"><span style="color:#18191a">::: Lungta (horse wind, internal air).</span></span></span></span></span></p> <p style="text-align:start"><span style="font-size:11pt"><span style="font-family:Helvetica,sans-serif"><span style="color:#000000"><strong>Director&rsquo;s notes:</strong></span></span></span></p> <p style="text-align:start"><span style="font-size:11pt"><span style="font-family:Helvetica,sans-serif"><span style="color:#000000"><span style="font-size:12pt">A short experimental film that meditates on the illusion of movement in cinema. Created as an audiovisual score in time, the structure of the film is divided in three parts: figurative movement, apparition of the images and repetition. The film uses a single shot of 25 seconds in length, reconfigured into ten minutes. The shot, in which appears a horse on a field looking at the lens, was filmed many years back unknowingly using a malfunctioning Bolex camera. When the footage came back from the lab I encountered a single continuous image that did not distinguish individual frames. The camera plate had stopped working, therefore the film was not stable during exposition. At the time, I saw the footage as a failed intent and left it aside. Now, many years later, as I was going over my archives thinking about this commissioned piece, I find these images yet the passing of time has re signified my perception. The image takes over me, an apparition of a being that breathes and looks from an internal eye.</span></span></span></span></p> <p style="text-align:start"><span style="font-size:11pt"><span style="font-family:Helvetica,sans-serif"><span style="color:#000000"><span style="font-size:12pt">Lungta, or horse wind, is in Buddhist traditions the name of the horse archetype and it refers to an allegory of the human soul, symbolizing the spiritual and the metaphysical. Lungta evokes the internal air, the wild, the ephemeral.</span></span></span></span></p> <p style="text-align:start">&nbsp;</p>

<p>A Madrid barbershop is packed with people who have come to see and touch a replica of the Virgin of Quinche. A priest proposes taking the statue to a church in the city center. The story continues when the replica of the Virgin is returned to the barbershop after an angry crowd disagrees with the priest&#39;s way of handling things. So, I decide to write the priest a letter. To offer him a deal he can&#39;t refuse.</p>

<p>A ritual of remembrance where, as I pass by places that have inhabited me, I show myself as a space in demolition, abandonment and construction.</p>

<p>Present, through the intervention of recycled film material, to bring a fragment of the poorly told history to the Ecuadorian imagination.</p>

<p>A structuralist diary, in blue and red.</p>

<p>Amid the lunar landscapes of the Bolivian mountains, the few traces of human presence seem minuscule, anecdotal. Shot by shot, Miguel Hilari&rsquo;s camera follows these clues that lead to the city and its sonic confusion, where faces are captured with the same attention and poetry as the environment in which they live.</p>

<p>Thailand&rsquo;s strategic position and political orientation made it the ideal ally for the United States during the Vietnam war. Through an astonishing mix of contemporary and archival images, All the Things You Leave Behind deploys precise criticism to analyse a little-known page of modern history, emblematic of contemporary power games and warfare.</p>

<p>The voices of five women gradually fill the sound space of the film, weaving a pattern: a tarot card reader; a woman surviving one of the most horrific cases of sexual violence and homicide in Italy in the 1970s; a woman accused of the homicide of four people; a woman who&#39;s obsessed with the idea of death while another seeks an answer to violence through religious practice.&nbsp;These voices bring out, in different ways, the relationship to life through the discourse of death.</p>

<p>A father films his daughter every year on her birthday, asking her the exact same questions, capturing the moving, tender journey from childhood to womanhood.</p>

<p>&quot;No River Protects Me from Myself&quot; takes as its starting point the mysterious theft of footage shot in the Central African Republic, in the tropical rainforest of the Congo Basin. The footage offers a response to the conflicts arising from the fragile and transsubjective encounter with the &quot;non-self,&quot; which can only be practiced or experienced: if one attempts to virtualize it, it ceases to exist.</p>

<p>A tale of disaster, both natural and social. A sweeping chorus of ecstasy and dread uses found footage to overlap two great perils of our time: the external degradation of our earthy landscape, and the hollowing out of our internal landscapes through inane and omnipresent media. But when an earthquake brings two men into each other&rsquo;s arms, the possibility of love in the face of trauma is revealed.</p>

<p>To what extent do we sense, speculate, and respond to the signs conveyed by the life and death of other beings? How can we open up our clandestine relationship with them? Instead of blurring or abolishing boundaries, can we sustain the tension that animates such otherness and not neutralize that relationship? In search of answers, whale time and human time plunge into small circles where emptiness and plenitude meet.</p>

<p>This film constitutes an attempt at personal and self-reflective artistic criticism that considers contemporary art, both in its production and presentation, from a class perspective.</p>

<p>Overview: Bansuri (Hindi: बांसुरी&lrm;, Urdu: بانسری; Nepali: बाँसुरी&lrm;, Marathi: बासरी&lrm;, Assamese: বাঁহী&lrm;, Bengali: বাঁশি) is an Indian transverse flute made from a single bamboo with six or seven fingerholes. It is an ancient musical instrument associated with pastoral tradition and is closely linked to the love story of Krishna and Radha. The word &quot;bansuri&quot; comes from the combination of the words bans meaning bamboo and the word sur meaning melody.</p>

<p>A diary featuring street workers and a president on the run on an imaginary corner in Buenos Aires between two streets that never intersect and are no longer called that.</p>

<p>A void opens in time and space as bitter spirits circle in search of the Silent Spiral. The reality double wipes the United States off the map.</p>

<p>A cave called the &quot;Grotto of Nightmares&quot; was known to be a place where, upon entering the cave with a torch or lamp, you would see your darkest dreams reflected in the glittering minerals inside. I had access to a written document describing a man&#39;s experience in the cave in 1914. In it, he recounts how he left his home, went to the cave, and his experience there. This film is a visual and audio recreation of the event described.</p>

<p>&quot;The ocean is the only way to reach Mount Analogue. Through each wave, which bursts into each of the primary colors, a door opens to a new perception... That of an ocean as deep, dark, and as difficult to access as the climb to the highest mountain. To the summit where the sixth sun is perceived.&quot; First piece in the series of short films from the Sexto Sol project. Inspired by the pre-Hispanic myth of the Sixth Sun. This chapter is inspired by Ren&eacute; Daumal&#39;s book &quot;Monte An&aacute;logo&quot;</p>

<p>The prototype is an embryonic film, attempting to resonate long after the experience of exposure to the film. Happening between dreams, it presents fissures, glues, fragile ties. The reverberation of a conscious and willful audiovisual object, sent from some future. Time is a simulation. Using outlines suggested in Valis by Phillip K Dick, the prototype is a manifestation of some higher intelligence from a lost and found 16mm coil, containing a signal from the primal source.</p>

<p>P L U M E responds to a 2019 State of Canada&#39;s Birds Report issued by Environment and Climate Change Canada alerting that the diversity and abundance of Canada&#39;s birds are in sharp decline. Thinking about this report and the effects of climate change and our interconnectedness with the natural world, I became an avid bird watcher, recording bird songs and collecting and labelling discarded feathers and down blends. The images in P L U M E are imprints from feathers soaked in a plant-based phenol solution, a phytogram technique developed by filmmaker Karel Doing, and reanimated using optical printing and digital editing techniques.</p>

<p>Altars and small shrines are erected along the sides of roads in the province of Corrientes, Argentina. Sheltered from the sun, beneath the trees, these expressions of popular religiosity are formed.</p>

<p>2022 | 5 min. | Super 8mm | 18fps | Color &nbsp;| Sound</p> <p>Oceanic patterns come in waves of chroma blurs and ultraviolet light, illuminating marine life in states of change.&nbsp;<br /> &nbsp;<br /> Notes:&nbsp;</p> <p>Washed-up pieces of bleached coral, urchins, and abalone enter tide pools offering evidence of acidification in the warming waters of the Pacific Ocean. Imagery and color were manipulated with found sea glass and diachronic glass. The sound was made with hydrophones placed inside tide pools, within layers of sea foam, and the surrounding waters capturing the sounds of whales, sonar, container ships, cruise ships, and mining. An ocean soundscape of increasing noise.&nbsp;</p>

<p>A rumination on ancestry, transformation and loss. Elemental forces and the universal web of interconnection. Dedicated to the memory of the filmmaker&#39;s grandmother Marilyn.</p>

<p>A strange incident occurred on May 22, 1996 at the Can-View Drive-in in southern Canada. The disaster movie Twister was scheduled to be shown as the weather conditions became threatening. Shortly after, a real twister destroyed the screens. The showing was canceled, but some spectators have built up the memory of having attended the movie, in the middle of a storm.</p>

<p>This process of resuscitating buried experiences and forgotten memories is driven by the materiality of 35mm film, the nature of the filmed images, and the filmmaker&#39;s interventions, painting and scratching directly into the film emulsion. In this inverse journey, memory-images and affects reveal their plasticity, their imperfections, their chaos, their sensuality, and their significance.</p>

<p>Fragments untitled #6 vivisects media footage of the event. The film is part of Fragments untitled ongoing serial of works through which Doplgenger researches the politics of media images that participated in creating the historical narratives of Yugoslavia in the period of 1980-2000., especially media images that performed the pretext to the Yugoslav Wars and the breakup of Yugoslavia. Fragments untitled is based on the private archives of citizens who recorded the TV schemes in the 90s. At the same time these are the images that refer to contemporaneity.</p>

<p>Expanding on the hybrid narrative of his remarkable 2016 film Dark Skull, Kiro Russo has mounted a monumental, gently mystical portrait of the contemporary central South American cityscape and those who work within its bowels and environs. Set in the alternately harsh and beautiful terrain of La Paz, Bolivia and its surrounding rural areas, El Gran Movimiento follows a young miner as he looks for work alongside his friends, even as he begins to descend into a mysterious sickness. With its marvelous long-lens zoom work and increasingly dynamic, rhythmic editing, Russo&rsquo;s film is a hypnotic journey into a psychological space that touches upon the supernatural. An NYFF59 selection. A KimStim release.</p>