2021 Festival Internacional de Cine Cámara Lúcida

<p>Through a series of letters read aloud to an absent lover, we learn about the fears, desires, and philosophical identity of a young woman named L, a student at the Film and Television Institute of India. Through these words, and via the documentary images collected by her and her peers of contemporary Indian youths engaged in university life, writer-director Payal Kapadia has constructed a brilliantly fragmentary work of witnessing. A Night of Knowing Nothing&mdash;winner of the Golden Eye award for best documentary at this year&rsquo;s Cannes Film Festival&mdash;is a testament to the inseparability of life, film, politics, and dreams, while functioning as an essential portrait of the ongoing struggle for resistance from discrimination.</p>

<p>The film is a continuous time-lapse, with multiple exposures of the sunset from the same angle and position, on 16mm film without any digital copying or pasting. The sun that appears was actually filmed. The goal was to transform an act of astronomical recording into an image filled with poetry, conveying the individual point of view of the author. The title &quot;13&quot; is because the time-lapse has an interval of 13 seconds per frame.</p>

<p>Taking its title from the poem by Wallace Stevens &ldquo;13 Ways of Looking at a Blackbird,&rdquo; the film is composed of a series of attempts at looking and being looked at. Beginning as a city state commission under the name and attitude of Unschool, the film became a kaleidoscope of the experiences, questions, and wonders of a couple of high school students after a year of experiences with filmmaker Ana Vaz, questioning what cinema can be. Here the camera becomes an instrument of inquiry, a pencil, a song. &ldquo;The film is a song you can see,&rdquo; wrote one of the students in a collective constellation of phrases and drawings made during one of the workshops. The phrase is a perfect description of a film that explores a nascent ecology of the senses.</p>

<p>Other than the ocean, the rest of the planet was bathed in purple, which was due to the color of the vegetation. The change in the sun&#39;s radiation had probably caused the plants to evolve as they adapted to the new light.</p>

<p>Tadu Baki follows himself through the jungle. He finds himself in a glass of water.</p>

<p>Partially blind, grandmother Kim Nay relies on touch and sound to navigate her daily routine of eating, resting, and listening to the news. Time moves fluidly as Kim&#39;s sense of self slowly begins to dilate, evoking dormant memories from long ago.</p>

<p>Night, like mourning, remakes space through absence: forms at the threshold of perception heighten sound and touch. When someone dies there is a pull towards the concrete and tangible, but disbelief creates a world of unreliable objects.</p>

<p>Is it possible to desert in a shooter game? Along this question, &quot;How to Disappear&quot; reflects on war and game, discipline and disobedience. For the history of defiance is as old as the history of war - and yet the act of desertion goes beyond the game&#39;s space of action.</p> <p>Shot in the martial yet picturesque war landscapes of the online shooter &quot;Battlefield V&quot;, the hyperreal graphics become the backdrop for an essay-like narrative. The narrator&#39;s voice creates a crack through which physical-real realities penetrate the depoliticized fun stage of the game. Using performances and interventions in the digital battlefield, &quot;How to Disappear&quot; explores the scope and limits of the audiovisual entertainment machine.</p>

<p>Set in the landscapes of Los Angeles, this hybrid documentary seeks to explore harmful cyclical occurrences that exploit natural resources and bring us closer to extinction. Following the discovery of a mysterious metal structure in the desert, this film documents the encased objects found within the structure. This film is made up of speculative recreations of the study conducted, analysis of the found objects, and surrounding landscapes.</p>

<p>There&#39;s an urban legend about Phil Collins&#39; inspiration for his 1980 hit &quot;In the Air Tonight,&quot; which Andrew Norman Wilson first heard as a teenager while high in a friend&#39;s basement. According to the ritual of the legend, the song plays while a narrator tells the story, synchronizing the song&#39;s infamous analog drum beat with the climax of the narrative.</p>

<p>Like all of Lertxundi&#39;s work, Inner Outer Space is a film that deals with relationships between characters and landscape, between image and sound, but it is also, ultimately, a reconstruction of the production process that highlights materiality and artifice.</p>

<p>Through the phantasmagoric visions that a thermal camera can offer, director Oscar Vincentelli reinterprets the ancient practice of bullfighting.</p>

<p>In her hidden house in the middle of the jungle, a psychic is visited by three strangers who ask her to help them summon an ancestor in a spiritualist ritual. This unwanted encounter turns into a nightmare.</p>

<p>Pseudosphinx is the scientific name for fire caterpillars that soon become butterflies, or as they are commonly (and ominously) called, hags. These butterfly hags are associated with various myths. The Pseudosphinx is both a sphinx, an inhuman, conical monstrosity that poses riddles, and pseudo, which refers to the artificial, false, deceptive, unreal, illusory, and mimetic. Pseudophynx keeps its meaning hidden, like a secret kept by those who preserve the haptic impression of its struggle on their retinas.</p>

<p>Swedge of Heaven is a moving image project that continues a line of the artist&#39;s practice that relates to the nature of experience in relation to place, particularly through the perspective of being connected to a place while simultaneously being alien to it.</p>

<p>A portrait of the urban residential development as it slips into oblivion.</p>

<p>Philosopher Zhuang Zi once dreamt he was a butterfly. This pleasant daydream tells this old story from a new perspective. Modern butterflies apparently dream in VR. Nature, technology and spirituality seamlessly meld when a monk and a child both embrace modern technology their own way.</p>

<p>Eight years after Kurt Kren produced his third film, 3/60 B&auml;ume im Herbst [3/60 Trees in Autumn], he shot his masterpiece, 37/78 Tree Again. Eighteen years after creating my third darkroom film, L&#39;Arriv&eacute;e (a tribute to the Lumi&egrave;re brothers and their 1895 train, L&#39;Arriv&eacute;e d&#39;un), I embarked on Train Again. This third film in my &quot;Rushes Series&quot; is a tribute to Kurt Kren that, at the same time, taps into a classic motif from film history. My journey to the darkroom took a few years, but we finally arrived: All aboard! (Peter Tscherkassky)</p>

<p>A walk through corridors and rooms culminates in a familiar Reiki session: what lies beneath and within. Zero Length Spring is an apotropaic film, imprinted by rituals and symbols, reveling in the ruptures of the body and the earth. ASMR brush marks and the language of self-help therapy, abrasions on the film&#39;s surface and purported paranormal photographs help shape various invisible forces. You are worth it, it deserves love, it can grow.</p>

<p>The desire for adventure and the search for new worldviews were the driving force that drove many Romantic artists to embark on journeys to distant lands. This was the case with Whistler, a painter and crew member of an English fleet that arrived in Valpara&iacute;so in 1866, the year it was bombarded during the Chilean war against Spain. This particular stay in Valpara&iacute;so provided the painter with the vision necessary to find the distinctive style he so eagerly sought. Whistler&#39;s paintings, the current landscape of the Valpara&iacute;so coast, and archival images of a risky voyage to Antarctica are the visual counterpart to the letters a woman writes to Pedro, a lover of maritime adventure novels, on the eve of a ship trip.</p>

<p>Off Mexico&#39;s Pacific coast lies the island of Capaluco. Once a busy resort catering to passing cruise ships, it is now empty of humans. A curious sea creature emerges from the water after traveling on the strong Philippine current. The Siyokoy navigates through the island&#39;s architectural afterlife, interacting with the spectral sounds. Something of a science fiction documentary embedded within, The Quiet Side speculates on the future of the non-inhabitants of the architectural remains.</p>

<p>There&rsquo;s a monster in the Nahuel Huapi Lake. In the twilight, it spreads itself out across the surface of the water like a taut cowhide, grasping at its victims with sharp claws. Another monster also lurks in the surroundings of the lake, which is close to Bariloche in the Argentine Andes. It is called Capa Negra: the Black Cape. It haunts the ski slopes by night and should be avoided at all costs.</p>

<p>The Invisible Mountain follows a roadie for the band Olimpia Splendid on a quest to find the fictional mountain.</p>

<p>Over a period of seven years, I traveled twice from Argentina to Taiwan to meet my mother. I have questions about my father&#39;s murder under circumstances that were never clarified. Over beers and cigarettes, she shares with me the little information she has about him and his death. Without many answers, my second trip takes on a different meaning, and I realize what I&#39;m really looking for: to talk about my mother&#39;s uprooting and to portray a woman who fights.</p>

<p>Despite a great effort, the professional development of Diego, Andres and Renee, university students, is affected due to a diversion of resources by the authorities.</p>

<p>Joaquim is at the end of his working life. According to a deal made with his employer, he will be able to retire after a brief period of unemployment. But first he has to submit a few token job applications to prove that he has tried to find work. His tour takes him to industrial areas in the Portuguese countryside where factories stand idle. There is little work, but everyone needs some sort of employment, provided by government programmes if necessary. It is from here that Joaquim set out in the 70s to try his luck in New York, where he worked as a chauffeur and cab driver and saw the world. New York as a rear projection and autobiographical reference point forms an important theme in the film, which plays beautifully with the boundary between reality and fiction.</p>

<p>At the beginning, an objet trouv&eacute;: a video camera bought by the director at an online auction site during an extended visit to the south of France to see his girlfriend at the end of 2019. His voiceover explains that he found some footage still stored on the camera and wants to use it to make something for cinema. To do this, he has to obtain permission from the camera&rsquo;s previous owner, an older man named Charles.</p>

<p>From the earliest voyagers who navigated by starlight to the discovery of habitable planets by astronomers, Rock Bottom Riser examines the all-encompassing encounters of an island world at sea. As lava continues to flow from the earth&rsquo;s core on the island of Hawaii&mdash;posing an imminent danger&mdash;a crisis mounts. Astronomers plan to build the world&rsquo;s largest telescope on Hawaii&rsquo;s most sacred and revered mountain, Mauna Kea. Based on ancient Polynesian navigation, the arrival of Christian missionaries, and the observatory&rsquo;s ability to capture the origins of the universe, Rock Bottom Riser surveys the influence of settler colonialism, the search for intelligent life, and the discovery of new worlds as we peer into our own planet&rsquo;s&nbsp;existence.&nbsp;</p>

<p>A powerful man, who is also the former prime minister of Georgia, has developed an exquisite hobby. He collects century old trees along Georgia&#39;s coastline. He commissions his men to uproot them and bring them to his private garden. Some of these trees are as tall as 15-floor-buildings.</p>

<p>On July 19, 1929, in a village in Colombia, a group of shoemakers fought to improve living and working conditions. They called themselves The Bolsheviks of Lebanon, Tolima. Their revolution lasted only a day, and its traces were almost completely lost. The women of this village share with Aura, an anarchist grandmother, the feeling that their rebellion continues.</p>

<p>As the VHS news footage that opens the film reveals, when the Palace of Justice in Bogota went up in flames in 1985 as part of a violent siege, the fire also engulfed the judicial archive, countless documents that defined law and order in the country gone forever. BICENTENARIO seeks to fill this void by returning to the man who called the Colombian state into existence, retracing the path taken by Sim&oacute;n Bol&iacute;var and his army in the final stages of the liberation campaign in 1818.<br /> <br /> The striking 16mm images of towns and landscapes two hundred years later pick out any number of traces of the political leader along the way, alighting on ancient bridleways, statues, advertisements, celebrations, and official events as different people talk of their relationship to Bol&iacute;var in voiceover. And these indirect attempts to summon forth his spirit are given a wonderfully ghostly undertone by the s&eacute;ance narrated by the unseen woman across the film, an orange backdrop to house any number of projections.<br /> <br /> History is so many things at once: books turned to ash, markings in stone and earth, each flag that is a copy of an older one, the man feeding pigeons in the square, a flame that flickers as the spirit approaches. (James Lattimer / Viennale)</p>

<p>Director Natalia Garayalde was 12 years old when the R&iacute;o Tercero munitions factory in Argentina exploded in 1995. Equipped with her father&rsquo;s camcorder, along with her younger brother, she documents the scale of the disaster in their town. 20 years later, she digs out these archives and uses new ones to retrace this attack by the State, the smell of ammonia of which still fills the air.</p>

<p>Landscapes of Resistance traces a journey through the memories of antifascist fighter Sonja (97), one of the first female partisans in Yugoslavia, who was also one of the leaders of the Resistance movement at Auschwitz. We make her story travel through time towards the bodies of the new generation of antifascists, bespeaking that it is always possible to think and practice resistance.</p>

<p>In this film shot on 16mm, Sanzgiri traces lines and lineages of ancestral memory, poetry and his history. A search for solidarity in the sounds and colours of a spontaneous movement in Delhi led by Muslim women, an Iqbal Bano song, images of B.R. Ambedkar &ndash; a radical anti-caste Dalit intellectual &ndash; all revolving around a letter addressed to a distant relative. Seeking to reclaim the past from erasure, and provide a journey towards a potential future.</p>

<p>The director embarks on a personal quest in Romania to portray the generation born in 1990, the year after the fall of Ceausescu, the country&#39;s dictator, and the beginning of a new post-communist era.</p>

<p>One Image, Two Acts unravels the multicultural and interconnected systems of petroleum infrastructures distributed and accumulated across unlikely geographies and material temporalities. Examining the photographic and film archives of British Petroleum (BP) during its operations in Iran, Iraq, and Kuwait, this film traces the visual and media infrastructures through which oil has historically operated as an agent of power in the colonial episteme. It describes BP&#39;s role in the construction of cinemas in the oil towns of southwest Iran and follows the transformation of this emerging image economy in the contours of the nationalization movement and colonial cinema between 1950 and 1980 in Iran.</p>

<p>This Rain Will Never Stop takes the audience on a powerful and visually stunning journey through humanity&#39;s endless cycle of war and peace. The film follows 20-year-old Andriy Suleyman, who tries to secure a sustainable future while navigating the human costs of armed conflict. From the Syrian civil war to the conflicts in Ukraine, Andriy&#39;s existence is framed by the seemingly eternal flow of life and death.</p>

<p>This hybrid piece is a collage created assembling both analog and digital material. Several layers of 8mm films merge to create a camera-less self-portrait of the filmmaker. The first layer is an 8mm orphan film (found footage) from the 1970s of a woman dancing. The second layer is an 8mm found footage film that has been buried in earth for some months. While being covered in earth, the film emulsion has been eaten by the bacterias in the ground, plus some bacterias from yeast and sugar. This technique was originally used by the Schmelzdahin group in Germany. After several weeks in soil, the film gets extracted, rinsed, and scanned via a 4K digital scanner. The third layer is an 8mm home movie that has been first decayed in soil, using the aforementioned technique, then hand-painted with ink.</p>

<p>A handheld camera tries to empathize with urban objects that have inherited animated potential. These elements, disconnected from each other, are related through camera movement and montage, which slides through the city looking for its definitive form.</p>

<p>Springs and apneas between worlds to resist and re-exist the pandemic. The power of the world&#39;s womb. Faced with thousands of bodies unable to breathe and dying from Covid-19, this work reflects on the power of apnea as a way to access primal states of life. If Covid-19 is a consequence of anthropic actions, this work is proposed as a gesture of resistance, appealing to a connection with the cosmos and the sources of life.</p>

<p>Death in Kashi is &quot;liberation.&quot;&#39; - &quot;Death in Banaras,&quot; Jonathan P. Parry, 1994</p>

<p>Seven centuries of stone are overthrown in a single moon. Thus passes the glory of the world, in the twinkling of an eye.</p>

<p>A series of short films about how the night immerses us in a world where the deepest thoughts emerge. Filmed frame by frame with long exposure times and hand-developed before dawn. Nighttime spaces are transformed, and intimate places are often encrypted and then opened up, and a series of static images move forward to leave time behind, like those dreams we don&#39;t want to remember.</p>

<p>A dream intertwines the beaches of Tijuana, Mexico, and Anc&oacute;n, Peru, and yearns to function as a portal between the two places. Notes on Connection III recreates the filmmaker&#39;s recurring dreams where time and space collapse between the two locations.</p>

<p>In this lonely contemplation of a past summer, the ancient promontory becomes a parenthetical projection of frantic lines and alternating impressions.</p> <p>&nbsp;</p>

<p>Passage is a film-essay about what lies beyond lost memory, perhaps a memory in the body. I thought about it the day my grandfather left me alone with my grandmother, and I realized she didn&#39;t know me anymore.</p>

<p>2021&nbsp;|&nbsp;4&nbsp;min.&nbsp;|&nbsp;Color&nbsp;|&nbsp;Silent</p> <p>&nbsp;</p> <p>Refracted&nbsp;light&nbsp;commingles&nbsp;in&nbsp;spectrum&nbsp;pools.&nbsp;</p> <p>The&nbsp;recursive&nbsp;lattice&nbsp;presents&nbsp;itself.&nbsp;</p> <p>It&nbsp;gives&nbsp;us,&nbsp;for&nbsp;nothing&nbsp;in&nbsp;return.&nbsp;</p> <p>The&nbsp;landscape&nbsp;senses&nbsp;indifference,&nbsp;vibrating&nbsp;impermanence.</p> <p>&nbsp;</p> <p>Notes:</p> <p>The&nbsp;imagery&nbsp;was&nbsp;created&nbsp;in-camera.&nbsp;The&nbsp;camera&nbsp;lens&nbsp;was&nbsp;flanked&nbsp;by&nbsp;double&nbsp;concave&nbsp;glass&nbsp;and&nbsp;prisms.&nbsp;Moving&nbsp;them&nbsp;by&nbsp;hand&nbsp;concentrically,&nbsp;at&nbsp;times&nbsp;intersecting&nbsp;with&nbsp;each&nbsp;other&nbsp;provided&nbsp;encompassing&nbsp;views&nbsp;of&nbsp;the&nbsp;Sequoia&nbsp;Semperviren&rsquo;s&nbsp;habitat.&nbsp;I&nbsp;placed&nbsp;the&nbsp;camera&nbsp;on&nbsp;a&nbsp;tripod&nbsp;in&nbsp;dappled&nbsp;light&nbsp;or&nbsp;directly&nbsp;in&nbsp;shafts&nbsp;of&nbsp;light&nbsp;on&nbsp;the&nbsp;forest&nbsp;floor&nbsp;with&nbsp;the&nbsp;intention&nbsp;of&nbsp;having&nbsp;little&nbsp;to&nbsp;no&nbsp;camera&nbsp;movement.&nbsp;If&nbsp;the&nbsp;light&nbsp;moved&nbsp;I&nbsp;would&nbsp;react&nbsp;and&nbsp;follow&nbsp;with&nbsp;the&nbsp;concave&nbsp;glass&nbsp;and&nbsp;prism&nbsp;in&nbsp;my&nbsp;hands.&nbsp;I&nbsp;would&nbsp;turn&nbsp;them&nbsp;concentrically&nbsp;and&nbsp;then&nbsp;intersect&nbsp;them&nbsp;in&nbsp;opposing&nbsp;directions.&nbsp;Essentially&nbsp;creating&nbsp;three&nbsp;interacting&nbsp;layers.&nbsp;One&nbsp;of&nbsp;those&nbsp;layers&nbsp;is&nbsp;the&nbsp;background&nbsp;which&nbsp;is&nbsp;static&nbsp;and&nbsp;in&nbsp;sharp&nbsp;focus.&nbsp;That&nbsp;foundational&nbsp;background&nbsp;layer&nbsp;becomes&nbsp;obscured&nbsp;by&nbsp;the&nbsp;other&nbsp;two&nbsp;soft-focus&nbsp;foreground&nbsp;layers&nbsp;at&nbsp;the&nbsp;right&nbsp;and&nbsp;left&nbsp;of&nbsp;the&nbsp;frame.&nbsp;Fluid&nbsp;and&nbsp;transitional&nbsp;states&nbsp;with&nbsp;intersecting&nbsp;parallels.</p> <p>&nbsp;</p> <p>&nbsp;I am grateful to live next to Big Basin State Park surrounded by an old-growth forest. California&rsquo;s oldest state park and my backyard were the locations of Recursive Lattice. It was made during the Covid-19 shelter in place order and before the August fires that burned through 97% of the park. Big Basin is a place of refuge and unbounded curiosity for me, one I hope to return to.</p>

<p>My mother suffers from generalized anxiety disorder and occasionally experiences panic attacks, during which she often mumbles incoherently. When she feels better, she recounts some of the thoughts that occurred to her during these attacks. Her personal experiences intertwine with the turbulent political events in India and the history of Assam: images of Partition, the Indochina War, the Assam Movement, and the subsequent insurgency are inseparable not only from her but from the mental landscape of entire generations of Assamese people since India&#39;s independence. My mother often writes down these experiences in the form of letters she addresses to her mother, who passed away several years ago. These letters, which prove to be quite cathartic, give her a sense of peace. This film is an attempt to reconstruct my mother&#39;s process of interacting with her memory triggered by her panic attacks.</p>

<p><strong>Tonalli&nbsp;</strong>is cinema as ritual, with pulsating images, the rhythm of the music and the ecstasy of light flashing in a darkened room. The film has three movements:&nbsp;Xochiy&aacute;oyotl (the &#39;Flower war&#39;),&nbsp;Tlecacitl (a solar-lunar ceremony where&nbsp;Xolotl, the god of lightning and death, emerges) and Tonalli (the sun&#39;s radiating warmth). In collaboration with student musicians from Codarts who will perform a live accompaniment, this Mesoamerican incantation will stir our Rotterdam audiences.</p>

<p>Closed and sacred, filled with a fire without matter, a fragment of the world offered to the light. Val&eacute;ry, The Marine Cemetery (1920)</p>

<p>Piero, Ricky, Dani, and Coqui are 21st-century settlers who discovered La Esquina del Sol, an island adjacent to the Paran&aacute; de las Palmas River. Located there is APOLO 31, a makeshift home with spaceship-like features that preserves the memories of these adventurers who have lived there illegally since 1997.</p>

<p>From a point of view/listening that is both animal and elemental, between the air, the ocean and the sand, relationships emerge between humans, birds and marine life.&nbsp;</p>

<p>A farmer discovers a fallen meteorite in the high Chihuahua Desert. The Alien Earth and the Earth Alien commingle under the spell of a deadly nightshade.</p>

<p>An enigmatic presence haunts the depths of the Amazon rainforest, where an indigenous Achuar teenager has disappeared. During the search for the young man, his family decides to consult with a shaman, who, immersed in a trance, reveals that the young man was taken by the devil, but that he has intervened, showing him the way back home. While awaiting his return, they encounter secrets of the dreamlike jungle and Amazonian visions of life after death, which shatter the documentary filmmaker&#39;s concepts of reality.</p>

<p>A sunny afternoon as an exercise in preserving intimate details: my grandmother&#39;s garden, her hands, her music, and her healing recipes.</p>

<p>Once the letter is handed over to conditioned reflexes&mdash;to the violence of its automatisms&mdash;it inscribes that shock on its own body. The Bonebreaker is the a posteriori document of that event. It obviates any mythologizing: it reduces all its effects to the most rigorous literality.</p>

<p>The illness allows two brothers to move toward those other places and sense the reflection of a new path that is approaching.</p>

<p>A scrap film, assembled in the unfinished present. An audiovisual hyperstition that integrates almost 20 condensed years of Super 8 footage and a mysterious signal in Pathe 9.5 that gives the thing its shape and title. Between automatic writing, radical drift, and a pastiche of previous pieces&mdash;many, all the films no one saw; mashed together like molcajete salsa. A humble and loving harvest of signals that present themselves in the sky and on the mental screen. The soundtracks are of bats in their most bestial form. The scan is from a Labtank. An essay in digital photoalchemistry, Timeless, but in several folds at once.</p>

<p>Neon Crystals. Expired, fallen cinema; legally dead, with an official date and inscribed tombstone. Obscene in its fermentation; expired photochemical materials, 20 to 50 years beyond their viability. Film found in the global garbage dump, flea markets of still-pulsing fossils. Almost images extracted with violence and force, from the first to the last step of manipulation. Unlike how fracking operates on the crust, what is stirred is the notion of an already given cinema. Each image, each sound is the result of a geological combat. Neon Crystals is a mixed, motley, audio-visible taffy. 35mm, 16mm, Super 8, without contours. What sounds in the piece is, among other things, a psychic improvisational session with maestro Steven Brown in his studio. He decided on verve even though sonic &quot;impurities&quot; from the environment infiltrate. The fifth part of the neon pentalpha. (antibody2021)</p>

<p>A scrap film, assembled in the unfinished present. An audiovisual hyperstition that integrates almost 20 condensed years of Super 8 footage and a mysterious signal in Pathe 9.5 that gives the thing its shape and title. Between automatic writing, radical drift, and a pastiche of previous pieces&mdash;many, all the films no one saw; mashed together like molcajete salsa. A humble and loving harvest of signals that present themselves in the sky and on the mental screen. The soundtracks are of bats in their most bestial form. The scan is from a Labtank. An essay in digital photoalchemistry, Timeless, but in several folds at once.</p>

<p>Before the world had a name and a form, when the stars were united to the same source and words could not yet define things or colors. Light and darkness mixed in a single matter. Everything was already alive and about to be born. Only the future could be remembered. Of that impact, only the great crater-lagoon remains where the first inhabitants of the earth arrived in the form of rock. The resonance is still felt, and when sleeping, mineral dreams present themselves that remind us of the deep period of time in which everything was the same, without passing, without fissures, without distinction.</p>

<p>Neon Spores is a nahual film, a totem and stone, a broken mirror, a seed, an inscription. Underground tunnels connecting ancient times and spaces. Between plateaus and memories of other seas and other moons, elements of speculative fiction, imaginary archaeologies, and the painstaking collection of sherds and other embedded materials. Excavation cinema, a cinema that moves the ground to invariably find dead bodies and incomplete stories. S8 and 16mm film finished digitally (B/W processed by hand). Trepidatory Music is a collaboration with Murci&eacute;lagas and Esmedragal.</p>

<p>(search for an image with another image) pre-post-self-production, structural-realist, random, pulsating, and irregular materialist. A 35mm film roll almost edited on a Lomokino camera, with loops and digital retouching. Babbling of light. Potential film laboratory</p>

<p>The monolith is inhabited by a minuscule entity, a conscious universe, a god or one of its forms. In its attempt to resonate with humanity, it only succeeds in fanning the flames. Everything burns to prepare for the new sowing. A rough film, low-resolution materials, intensities, flows, affected bodies and bodies affecting other bodies. The revolt is a state of the present, expansive. A short feature film, a long short film. Oaxaca Archives 2006, premonitions, dreams of induced machines, signals emanating from deep space. Fire in the present, like an anticipation of the moment. A free appropriation of a premise by F&eacute;lix Guattari, an incendiary and extraterrestrial declaration of love. A great poster and very good stills. A film failed in its temporality, a film still in the future.</p>

<p>Motor Cortex. Photochemical essay, paranormal film on the edges of lucidity. Third part of the neon pentalpha. Motor Cortex (neon spine) insists on working with fragments of cosmic pottery, broken and restored many times. Penetrating things that disappear over time. S8, 8, 16, and 35mm and digital kiln firing. Thresholds</p>

<p>Vegetative life. Air, breath, respiration, spirit, life. A light body, very similar to a warm wind, spread throughout all organisms. Vital spirits. It is the air that touches us constantly; we live &quot;immersed&quot; in a sea of ​​air resulting from a vegetal event. 16 mm and 120 phytograms. Images from interspecies collaboration.</p>

<p>Dark Matter is an experimental exercise based on an excavation of the 54,000 pages divided into 85 volumes and 13 appendices of the &quot;Iguala case,&quot; made public by the Attorney General&#39;s Office (PGR) in 2015. The set of documents presented in PDF format, illegible files, crossed out, photocopied, scanned, and photocopied several times. Until the disappearance becomes integrated into the document itself. The disappearance of the image. The disappearance of the text. Generations of images dissolved to the point of losing their status as images.</p>

<p>In 1998, filmmaker Barbara Hammer had a one-month artist residency in the C Scape Duneshack which is run by the Provincetown Community Compact in Cape Cod, Massachusetts. The shack had no running water or electricity. While there, she shot 16mm film with her Beaulieu camera, recorded sounds with her cassette recorder and kept a journal. In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her Duneshack images, sounds and writing to filmmaker Lynne Sachs and invited her to make a film with the material. &nbsp;Through her own filmmaking, Lynne explores Barbara&rsquo;s experience of solitude. She places text on the screen as a confrontation with a somatic cinema that brings us all together in multiple spaces and times. &ldquo;While editing the film, the words on the screen came to me in a dream. I was really trying to figure out a way to talk to the experience of solitude that Barbara had had, how to be there with her somehow through the time that we would all share together watching her and the film. &nbsp;My text is a confrontation with a somatic cinema that brings us all together in multiple spaces at once.&rdquo; &mdash; Lynne Sachs Support provided by Wexner Center Film/ Video Studio and Artist Residency Award &ndash; Jennifer Lange, Curator. &nbsp;Additional Editing by Paul Hill; with gratitude to Florrie Burke.</p>

<p>From 2015 to 2017, Lynne Sachs visited with Carolee Schneemann, Barbara Hammer, and Gunvor Nelson, three multi-faceted artists who have embraced the moving image throughout their lives. From Carolee&rsquo;s 18th Century house in the woods of Upstate New York to Barbara&rsquo;s West Village studio to Gunvor&rsquo;s childhood village in Sweden, Lynne shoots film with each woman in the place where she finds grounding and spark.</p>

<p>In a film epistolary to French director Jean Vigo, Lynne Sachs reflects on his 1933 classic &quot;Zero for Conduct ,&quot; in which schoolchildren wage an anarchist rebellion against their authoritarian teachers. Thinking back to the January 6, 2021, assault on the U.S. Capitol by right-wing activists, Sachs wonders how an innocent game or a calculated protest can so quickly descend into chaos and violence.</p>

<p>Optically printed images of a man and a woman fragmented by a film frame that is divided into four distinct sections. An experiment in the form/content relationships peculiar to the medium, 1987.</p>

<p>From 1984 to 2019, Lynne Sachs filmed her father, a lively and innovative businessman. This documentary is the filmmaker&#39;s attempt to understand the networks that connect a girl to her father and a woman to her brothers. With a nod to Cubist representations of the face, Sachs&#39;s exploration offers simultaneous and sometimes contradictory visions of a seemingly unknowable man who publicly places himself uninhibitedly at the center of the frame, but privately takes refuge in secrets.</p>

<p>Like an animal in one of Eadweard Muybridge&#39;s scientific photography experiments, a woman observes five undramatic moments in a man&#39;s life. A study in visual obsession and a twist on the notion of &quot;gaze.&quot;</p>

<p>Lynne Sachs films her daughter Maya in 16mm black and white film, at ages 6, 16 and 24. At each iteration, Maya runs around her mother, in a circle &ndash; clockwise - as if propelling herself in the same direction as time, forward, on celluloid at 24 frames per second. Conscious of the strange simultaneous temporal landscape that only film can convey, we watch Maya in motion at each distinct age.</p>

<p>My daughter&#39;s name is Maya. I&#39;ve been told that the word maya means illusion in Hindu philosophy. As I watch her grow, spinning like a top around me, I realize that her childhood isn&#39;t something I can comprehend, but rather, like the wind, something I feel tenderly caress my cheek.</p>

<p>In 2001, I photographed her at age six, spinning like a top around me. Even then, I realized that her childhood wasn&#39;t something I could understand, but rather, like the wind, something I could tenderly feel brushing my cheek.</p>

<p>A cinematic portrait that straddles a painting and a prose poem, it looks at a woman&#39;s daily routines and thoughts through an exploration of her as a &quot;character.&quot; By interweaving threads of history and fiction, the film also pays homage to a real woman: Emma Goldman, 1986.</p>

<p>This defiant feminist mosaic subversively recontextualizes archived materials dating back to the 1950s. Footage taken from a medical laboratory, an educational film on menstruation, and an amateur fantasy film about a mermaid gain whole new meanings. The repurposed shots represent the female body as a kind of freak show of bodily processes, sexuality, and maladaptation. Opposing the distorted imagery of women rooted in our patriarchal world is American poet Gertrude Stein, who seeks to bridge the gap between the &quot;body of the body&quot; and the &quot;body of the mind&quot; and achieve the integrity denied to women by Western society.</p> <p>&quot;I deconstruct a purely cinematic reality that to me seems disturbing, humorous, and just plain visually provocative. The composition of a single frame displaces the seedbed where I can cultivate my paintings and collages.&quot;</p>

<p>For the first three years of my twin nephew and niece&#39;s lives, I used my 16mm Bolex camera to film them growing up in New York City with their two dads (my brother Ira Sachs and his husband Boris Torres) and their mom (Kirsten Johnson). The film ends with a hug for Gay Pride Day.</p>

<p>When two American sisters travel north from Ho Chi Minh City to Hanoi, conversations with strangers and Vietnamese friends reveal another side of a shared history.</p>

<p>Ay Takigu, (My little music), expresses the symbolic and practical role in the cultural everyday life of the Otavalo people.</p>

<p>As a symbol of the Living Forest - Kawsak Sacha - the Kichwa indigenous people of Sarayaku, from an old cedar tree in their land, the central Amazon of Ecuador, decided to build a canoe to, in an act of reconquest and decolonization, take it to the Conference of the Parties on Climate Change held in Paris in 2015, COP 21.</p>

<p>This story tells of her childhood memories in which the director collected TUKU worms with her mother.</p>

<p>Juste un Mouvement is Vincent Meessen&rsquo;s free take on La chinoise, the 1967 film by Jean-Luc Godard, and a &lsquo;film in progress of making itself&rsquo; in Dakar.</p>