2020 Festival Internacional de Cine Cámara Lúcida

<p>Two circular interior landscapes constructed from layers of personal images captured during a traumatic journey. Abstraction of pain and memory. I interpret the experience of delving into the winds and waters of my memory and emotions. Infrascape. Inspired by the philosophy of Heraclitus and Zen, these are interior landscapes based on metaphysical ideas related to natural phenomena, but applied to personal memory and the experience of images while we exist.</p>

<p>A sociological meditation on the different &ldquo;exits&rdquo; that young Palestinians choose, in order to cope with life in the refugee camps.</p>

<p>A Ghost Eats Mud on the Mountain is an abstract journey set against a backdrop of spaces in Hong Kong. The spaces navigated through the film seem to be outside of time and place; somewhere between past and future, nature and urban space, myth and document. The only apparent inhabitants of this world are an indistinguishable figure and a buffalo. If the film suggests a transitional realm or a liminal space, then the youth and the buffalo belong to the same realm. The artist&#39;s navigation of these scenes could be considered equivalent to the suggested experience of the isolated protagonists.</p>

<p>In the salty laughter of the rocks.</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>This film was shot during the cold darkness of winter. Handled on the JK optical printer</p>

<p>In the days leading up to a departure, the mysterious characters of Rubicon lead us through the streets of a town, any old town, in an unknown country. The burning light of the afternoon, a packed suitcase, whispers... A film suspended in time, like a feeling of dizziness before departure.</p>

<p>Within the ancient Precambrian rock of northern Canada lies one of the largest uranium reserves on the planet. A power that has produced the greatest destructive energy known to man is also manifest in the region&#39;s natural glory. A gothic travelogue that calls for dialogue with the region&#39;s ghosts; abandoned mining towns, swallowed up in the pandemonium of extraction and abandonment, as well as unknown forces that inhabit these lands and speak in shadowy memories.</p>

<p>Due to the global pandemic, a curfew was imposed in Ecuador on March 25th. The order was &quot;stay home.&quot; During those days, Guayaquil was the epicenter of the disease in the country, and several bodies appeared in the streets. It was only partially enforced: merchants had to sell, children had to play, young people had to have fun, birds had to sing... It was a good opportunity to revisit memories and prioritize.</p>

<p>An imaginary dialogue.</p>

<p>It addresses the genocide of the Waimiri-Atroari people in 1970s. Illustrations about the period, created by the indigenous population reveal a traumatic history, referring us to the present day.</p>

<p>Aqu&iacute; y all&aacute;&nbsp;is an essay film that studies what being at home means. The filmmaker uses photographs, maps and Google Earth to connect places around the globe; not just from her own past, but also from the complex migratory history of her family that stretches back to Hitler-era Germany and Mao&#39;s China. Reality and the virtual prove equally confusing: however much you zoom in, you never get closer to home.</p>

<p>Self-Portrait with a Strike Background was initially conceived as a &ldquo;making of&rdquo; for the touring of my exhibition Alexander von Humboldt Archive during 2019, but its images took the path of a fictional essay based on diaries filmed in the context of a widespread STRIKE: Haiti, Ecuador, Colombia, Chile, France, etc. The general climate of these events was one of intense police repression, which has turned the CURFEW into a &ldquo;habit of government.&rdquo;</p>

<p>The reenactment of a scene from an early episode of Melrose Place opens this domestic psychodrama, a look into the horrors of interior decoration and the boundless entanglement of things.</p>

<p>The revenge of hell boils in my heart. In your cold room, The silence that makes you mine. Fall, stars. She sat down and counted them a million times. Nobody will know my name. And if my love were in vain. Oh God, I wish I could die! She was the toughest, the hardest and most fragile. In your cold room, look at the trembling stars, I am sighing, I am tormented. but my mystery is closed in me. Have mercy. that I will win at dawn and we must die, have mercy The death and despair surround me</p>

<p>Bugs and Beasts Before the Law&#39; is an experimental film that explores the medieval practice of putting animals on trial. This story of colonial lawmaking forged political and, at times, profane relationships between humans and animals. Bambitchell&#39;s new essay reimagines common perceptions of legal history and, in doing so, produces a world where past and present, fiction and nonfiction, humans and animals merge.</p>

<p>After finishing his Chapel, Lorenzo suffered a depression and locked himself inside for three years. Upon opening the doors, he called out to his children to show them what he had done: good and evil.</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>Behind the hostel and the bustle of the shopping malls in Tajrish, a bazaar in northern Tehran where the old meets the new, lies an old street where time seems to have stood still. Here is Koocheh Zoghali (Coal Alley) with its old-fashioned public restroom, secondhand shops with all sorts of trinkets, a Tekiyeh where ceremonies are held during the month of mourning for Imam Hossein, and only one real coal shop remaining from the old days. Above them all is a huge crane casting its shadow across the street. The crane feels like a giant about to devour this old, narrow alley.</p>

<p>The ghost of French painter Paul Gauguin, whose late works evoked the Marquesas Islands of the colonial era, hovers over this short film, w as residents of the area are interviewed and local contemporary art is featured.</p>

<p>Le Corbusier designed the Corbusierhaus in Berlin in 1958. A residential unit surrounded by green spaces with capacity for 2,000 people. Here, a study of color and movement is carried out in the building&#39;s common areas. An almost hyperkinetic but also hyperalert dotting: doors, hallways, murals, numbers, locks, its exterior, and emergency spaces. Everything that could be ignored is revitalized in the speed that leaves the museum&#39;s wake behind to concentrate on the everyday, on the ignored vigor of simple everyday space. And there appears a joyful and enchanted formalism of the corners (of the building and of Le Corbusier&#39;s own work), which seeks to share that same joy and that same desacralization. Juan Manuel Dom&iacute;nguez</p>

<p>An exercise in random materialist cinema, reels inhabited by diverse structures and temporalities collapse during development and scanning, become embedded in a shared memory, and ultimately weave a piece interwoven with light and vapor. Speculative fiction, vegetal narrative, dream of seeds. Neon Bark is a learning curve, a potential film. We expect stares and screens and many more slips. S8 and 16mm digitally warped.</p>

<p>A film about a film about a book about a city. Through a series of conversations, the director investigates the impact of the 1966 film &quot;Hunger&quot; (based on the novel by Knut Hamsun) on several generations of Norwegian artistic practice. The film is repurposed in different ways to explore the artist&#39;s role in the present and to portray Oslo, where it was filmed, from the perspective of a foreign director.</p>

<p>&quot;Lunar dances suggest, insinuate, point to, outline a shamanic materialism and an aesthetics of trance. Their form of composition is sorcery, spell, trance, rapture, torsion, a superstitious penetration into the landscape, an animistic proximity and proximity to things. What we thus rescue is clearly the sensorial condition of testimony, the aesthetics of trance or shamanic insurrection, this is what we perceive as moon dances, part of our Shamanic Materialism. Here, the empirical nature of things gives us their dazzling brilliance, and the suggestive nature of their agitation gives us the omen of a testimony: Impressions of lunar flashes, a testimony that allows us to shore up a kinetic dispersion of fragile contour under the condition of omen, suggestion, and cycles.&quot;</p>

<p>Natural Disasters is the intersection of three films, three territories. A personal account that, through experiments expressed in images and diary entries, portrays lived encounters and inhabited places, traversed by the forces of nature, colors, accidents, and struggles. Filmed in Cuba and Chile. Dedicated to Lena.</p>

<p>&quot;The astronaut has been released.&quot; Double Talk II is an audiovisual exercise originally designed in two channels with Super 8mm projectors. Short sequences of family films, documentaries of historical value and Institutional. The sequences are automatically linked, and in the next second they disconnect, generating a new chain. A reflection on the materiality of the medium.</p>

<p>Frederick Douglass was the most photographed person of the 19th century. Today, his image appears on a quarter. He, a man who believed in the power of variation and in photography&#39;s ability to document that variation, has been transformed into a single, fixed image. The onetime anti-slavery activist is now used as a symbol of capitalism and US imperialism. In Ecuador, a country that has dollarized since 1999, Douglass&#39;s image also circulates. By tracing the coin&#39;s imprint over and over again in black, white, and gray, I reverse the process. A single image of Douglass becomes many. Like Douglass, I also believe in the power of repetition and variation. E Unum Pluribus. From one, many.</p>

<p>The seer passes beneath branches, traverses fields, observes the quiet corners of creation. Bright and dark take turns showing their faces, a two-faced ghost, an energy that shifts shape over time. The seer takes notes, collects eidolons.</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>This film takes up a forgotten slideshow technical script made by a peasants association and gives life to it through a 16mm film, music, and words, as a recomposition and extension of the resistance against violence through historical memory.</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>&ldquo;He says it is a warning against idolatry.&rdquo; The image of a corpse abandoned on the street lives on like a ghost inside us. A film collage made with newspaper clippings, voices, drawings, and moving images.</p>

<p>This is the portrait of three young people searching for an earthly paradise. It is the story of their journey, their desire for freedom, and their emotional relationships across the protean landscape of the tropics.</p>

<p>Propagators, dispersers, transmitters&mdash;all the signs were infested. After the third wave of plague, all direct contact was restricted. Exposure of bodies to the environment was limited to a maximum of five human beings in a single location. We are the bodies where the virus hides to enter existence, potential carriers of all neon harbingers, coming out to expose ourselves to the scorching sun, to show off our shining skin, to breathe directly. Breathing at the same time, conspiring immersed in the environment, no mesh separates the living. We do not inhabit the earth, we are immersed in its atmosphere, we breathe it.</p>

<p>Within this community, where life goes on as usual, through these ordinary, common and sincere individual experiences and phases of life, how can we build a society of the self, to examine the current singular and enduring modes of thinking? How to influence the space of people&rsquo;s existence and communication in a long-term way within the sociopolitical and economic structures?</p>

<p>For time immemorial, the indigenous peoples of Latin America have used and venerated the coca plant, affording it the same respect as a person. Ji&iacute;bie is the Uitoto word for the powder made from the plant, which is produced here in the domestic setting of a Muin&aacute;-Muru&iacute; family (in the Colombian Amazon). A spiritual guide, a healer, a teacher and a communicator: these are just some of the roles assigned to this &ldquo;plant of power&rdquo;.</p>

<p>Documentary on a Canadian feminist activist who helped to get abortion legalized in that country, and who continued to be involved in issues such as Israel/Palestine and her own mental health.</p>

<p>Junkerhaus is shot at the residence of Karl Junker (1850&ndash;1912), who dedicated his life to building his house in Lemgo, Germany. Reflections, projections, and shifting light form abstract shapes that animate surfaces and structures, producing a psychological portrait that offers a new appreciation.</p>

<p>After collecting his salary and sending it back to his home country, a house painter deliberately leaves his cell phone on a park bench. Shortly after, a young woman finds it and keeps it. The artist and the worker, sex and death, the city and nature, the distant and the near, the present and the virtual. Opposing and disparate elements, but which, united by the film&#39;s rigorous construction, end up giving meaning to that which has no meaning: life itself.</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>Now the dogs&#39; barking can be heard here, next to us. Last night, Daniel had trouble sleeping.</p>

<p>Tiny animals of different kinds were filmed by night and then magnified under semi-transparent spherical glasses. The activity of constantly moving organisms subjected to magnification results in unexpected images of unrest, changeability, migration and creativity in altering shapes. &bdquo;La notte salva is a path of sensations that attempts to gather around its nature without revealing it, without opening itself to any human language.&ldquo; G. Boccassini</p>

<p>A man seems to be following a quest that hasn&#39;t found its purpose. Fragments of his memory emerge as if to escape the call of the shadows.</p>

<p>To their faithful inhabitants, Peru&#39;s mountains are a sacred space full of mystery. Nature is the focus, from juicy greenery to shiny mud, from biting winds to silent mist. In their midst, a healer who recommends not letting unimportant, worthless things distract you.</p> <p>A girl holds a sword in her hands. Attentive to a mystery that attracts her, but that she cannot understand, she contemplates with curious innocence the metallic blade, in which she can see its slightly distorted reflection. Her eyes run through the metal from one side to the other, not looking for explanations, exploring the unknown. The image, which is part of Laguna negra (2020), work of the young Peruvian director Felipe Esparza, condenses the formal and thematic proposal of his short film. His work carefully observes the strength of the landscape that nests in the Andes, enters a sensitive experience where nature is presented as a sacred space that challenges our being and ausculpates the complexity of syncretism where shamans and healers invoke God in the Andean mist. Esparza&#39;s eye is meticulous in presenting the space that the characters inhabit and walk through. His care for the sound of nature and the power of the word complement his respect for this sacred environment, where celebrations and rituals are not something exotic, but extremely close and sensitive.<br /> Review: Juan Pablo Franky<br /> <br /> https://vimeo.com/339941338</p>

<p>Almost two decades ago, the Itoiz reservoir flooded seven villages and three nature reserves on the slopes of the Navarrese Pyrenees. The environmental group Solidari@s con Itoiz documented the struggle against its construction on video. Today, those who were there dream of the land that remains underwater. Their voices and actions intertwine to convey an individual and collective grief that continues to the present.</p>

<p>An atypical family&#39;s memories, set against the backdrop of an elite social club in Medell&iacute;n, offer a piercing portrait of Colombia&rsquo;s last 50 years of violence&mdash;from the rise of the M‑19 guerrilla movement in 1970 to the 2016 peace plebiscite. The filmmaker&rsquo;s voice‑over navigates personal and national history through the lens of privilege and loss.</p>

<p>Eroding ideologies shift the sands of unreality.<br /> Shadows cast narratives reflecting surface.<br /> Polarizing algorithms weathering perceptions.<br /> The organism creates the environment.</p> <p>Notes:</p> <p><em>This sensorial depiction of the disappearing lines between the virtual and the physical world features the eroding landscapes of the Northern California Coast. The sound was recorded on-site and made with contact microphones placed on the surface of the rocks, making the natural elements that sculpt and shape the landscape audible. A counterpoint to the sounds of the landscape is field recordings of a Silicon Valley server farm.</em></p> <p><br /> &nbsp;</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>These lands once had another name. Other beings populated them. They say those beings founded cities. That the prophetic stones with which they built them possessed an ancient power. They say this dark power keeps us all trapped in a mirage that makes us believe we truly exist. But no one remembers anything anymore. Aurora is a gypsy woman who lives in a village in the southern mountains. She spends her days there while people leave, animals die, houses burn, and the fields dry up. The arrival of a new forest ranger will lead Aurora to discover the existence of new worlds that try to awaken her from her slumber.</p>

<p>A group of fishermen find a 17th-century sword on the banks of the Guayas River, alerting a filmmaker before the authorities. &quot;Mejana&quot; is the second movement, and thus the journey that connects river, gulf, sea, and their mysteries, intertwines with the everyday solitude of a director.</p>

<p>In a dream, I met the ancestors.</p>

<p>Through videos recorded with night cameras, he seeks to enter a foreign body and experience its journey between waiting and abduction, developing attention to our own cognitive process.</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>Castuera, Spain, April 1939. During the night, two Falangist guards appear at the door of the house where Paz is taking refuge with her family. They request her presence at the police station. Paz immediately understands the fate of this visit. With no way of escape, she asks to breastfeed her newborn daughter one last time.</p>

<p>An autobiographical collection of moments that describe inhabiting a post-industrial landscape, the end of a love story, and the politics of the intimate and the public. The camera, as a device for recording and remembering, beyond evoking the past, becomes a tool for the emergence and exorcism of ghosts. A film as an act of forgetting</p>

<p>Employing the narrative of Pierrot the Clown and the aesthetics of Kenneth Anger&#39;s pioneering queer avant-garde film Rabbit&#39;s Moon, Pierrot Mulatto explores the search for British identity from a mixed-race, lesbian British perspective. Pierrot Mulatto&#39;s life goal is to catch a giant sycamore seed that falls every day from the arms of Harlequin Jack, a crazed Black man in whiteface, driven mad by his own quest for British acceptance. A mixed-race woman, Pierrot is encouraged to strive for her &quot;white potential&quot; while battling rejection, rage, and the warping of time in the English countryside.</p>

<p>An archive preserves fragments of toppled statues. In one corner, a fan rocks the air. The air caresses the workers&#39; still gestures. The hum of the motor and the prolonged wait induce sleep: In one dream, soldiers and civilians smile lifelessly. (Distant gunfire, the whistling of bullets, and explosions.) In another dream, there are only stones, indifference, and oblivion. (None of the above is real or true.)</p>

<p>The personal stories experienced by the Uncle, the Father, and the Son, respectively, form a tragic experience drawn along a line in time. This cleft line resembles a wrinkle in the family album, but also a crack in the walls of the paternal home. It resembles the wound opened by piercing a mountain, but also a scar in the collective imagination of a people, where the idea of ​​salvation finds a tragic destiny in political struggle. What lies at the end of this line? Will the old war songs be enough to overcome this fate?</p>

<p>In the rainy season, after several days of downpours and hurricane-force winds, a moment of calm arrives. The animals emerge from their burrows to dry off, and the mushroom harvesting begins. Some are cut for consumption, while others remain stuck to surfaces.</p>

<p>Far from the Argentine capital, in C&oacute;rdoba, the end of the dictatorship heralds a spring that will be short-lived. &quot;La Delpi&quot; is the only survivor of a group of transvestite and transformist friends who, towards the end of the 1980s, were beginning to die, one after another, of AIDS. In a Catholic provincial city, Grupo Kalas made playbacks and improvised dresses their weapon and their defense. Today, the images from a unique and unpublished archive are a farewell letter, a manifesto of friendship.</p>

<p>&quot;That I cut reeds defeated in the fight for talent; to the glaucous gold of the distant vegetables consecrating their vineyard to the fountains: An animal whiteness waves in the siesta: and to the slow prelude from which the party is born, flight of swans, no! of naiads, is avoided or dive...&raquo;</p>

<p>By associating isolated fragments from different films, the material explores the technical and mental processes that are manipulated to construct &quot;meanings&quot; in a specific audiovisual discourse. Each fragment offers some information. Directions to follow to articulate or configure a narrative line. But the longer we follow these &quot;guides,&quot; in theory reliable, the further we delve into unknown and unexpected paths.</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>In 74 BC, Titus Lucretius Carus, a young man of bold ideas, tries to convince his friend Memmius that moving to Rome to study is a complete waste of time. Years later, Lucretius returns from the capital. Trying to find a balance between his explanations of the natural world and his emotional experience, Lucretius experiences a deep and turbulent passion for his foreign wife, Isa.</p>

<p>The wolf has ceased to inhabit the territory that once formed part of its domain, and it is only through its surroundings that we can approach it: ruins of wolf traps, predator urine imported from the US, a midden for feeding carrion birds, and archers shooting at replicas of animals.</p>

<p>According to the myth still prevalent in the coal-mining towns of Patagonia, if a woman enters the mine, the earth becomes jealous. Then there is a collapse and death. &quot;R&iacute;o Turbio&quot; is based on a dark personal experience to become a film about the silence of women who live in villages of men. How can we film where our presence is forbidden? How can we record the resonances of what is not heard? While the fog and smoke from the power plant cover the town, the voices of the women of R&iacute;o Turbio forcefully break through the white ice and the hum of the drilling machines, shattering the structure of silence.</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>In the days leading up to a departure, the mysterious characters of Rubicon lead us through the streets of a town, any old town, in an unknown country. The burning light of the afternoon, a packed suitcase, whispers... A film suspended in time, like a feeling of dizziness before departure.</p>

<p>A seven-minute visit to a disappearing and reappearing space, where digital memories and digital nightmares perpetually collide.</p>

<p>A year before her death, Barbara Hammer asked me to work on a project she&rsquo;d envisioned based on her correspondence (1973-85) with Jane Brakhage. She also gave me outtakes from her 1974 film &ldquo;Jane Brakhage&rdquo; and told me to let the project take me wherever it led. What emerges is a portrait of Barbara as a brave and vibrant artist and a complex and nuanced long distance friendship.</p>

<p>Glimpses of the solar eclipse of March 20, 2015, in Lisbon. A letter tells of life in a distant land.</p>

<p>Darkness never emerges, but it&#39;s present. A kind of teenage wasteland feeling, unexpected storms, and welcoming landscapes intertwine. In a mesmerizing atmosphere, sensuality and desire are somehow forbidden, as if facing a glass wall. Only by looking back do we find ourselves in a space/place resembling the moon.</p>

<p>A helter skelter is an amusement ride with a spiral slide built around a tower. Like this film, an exorcism attempt of an unrequited desire, itʼs either moving too fast or at a complete standstill. Disorienting but exciting.</p>

<p>Fedor is a young locksmith in Murmansk, a frozen city in the obscurity of the Russian Arctic. Client after client, he roams through the alleys of concrete animated by a fantasy that isolates him from the city and its population. His dreams corrode his relation to reality and open the door to a phantasmagoric universe; a second sun is rising above the Russian Arctic.</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>Sofia is panicky, again. The Universe decides to contact her. An other-wordly dialogue. A planet symphony for Mars, where people dream awake and fight for love.</p>

<p>The Eyes of Summer was shot in the filmmaker&rsquo;s mother&rsquo;s village in southern Sri Lanka in 2010, immediately after the civil war. Together with family members, he developed an improvised story around a shy girl who becomes friends with a spirit, based on similar encounters from his mother&rsquo;s childhood. A story from a repressed community that doesn&rsquo;t seem to draw defined boundaries between life and death.</p>

<p>Krāslava bridge is the first bridge over the river Daugava in the territory of Latvia - gate for the Daugava river from Belarus to Latvia.<br /> Every film is about time, but ours maybe a bit more than every as it was shot on Kodak Eastman Plus-X Negative Film 5231, acquired in the year 1997 and discovered intact in 2018. So we are dedicating THE FIRST BRIDGE to Film stock.</p>

<p>The Quinta da Regaleira in Sintra, Portugal is a huge estate that has two initiation wells built into the ground. This film takes us into one of them. Soundtrack by Samuel La France.</p>

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

<p>Australian filmmaker Allison Chhorn&#39;s The Plastic House takes place almost entirely in and around her Cambodian family&#39;s ramshackle greenhouse. She oversees the inspiring regrowth despite the sometimes harsh natural elements, as seasons change, time passes, and life moves on. Economical yet expansive, Chhorn filters and displaces her fears about her parents&#39; deaths and a precarious future into an intensely moving narrative of ritual, labor, and isolation.</p>

<p>An experimental music ensemble is recording an album. They want a very specific sound: the sound of THICK AIR. The sound engineer struggles to understand and to find that sound. A tale of sleepless nights and loud music. Shot across five cities and countless nights, THICK AIR is a noise-injected collage, composed of diaristic footage, a found narrative (memories of a popular 60s band), original music and field recordings.</p>

<p>A day that could also be a life. A young man who could also be an older woman. A nightmare that could also be a dream. In Tunisia, while it could also be somewhere else: on the border between the necessity and the fear to make a film, the necessity and the fear for the revolution, This day won&#39;t last is a cooperation with a distance. That is how this self-portrait turns into a group portrait. Clandestine, but straight from the heart: an end that could also lead to a new beginning.</p>

<p>Vibrant, diamond-shaped light refractions: a projector? Fluorescent tubes? It&#39;s more like a &quot;human machine&quot; that the filmmaker is dissecting with a fine surgical blade. And so begins an imaginary shoot in the bloodless, post-humanoid body, which travels into an abstract space that occasionally seems to become concrete on its own before dissolving again into shimmering streaks and, ultimately, into vast expanses: a cinematic wormhole leading behind the images, where the lazy human eye is and must be subject to a trick of light arrangements.</p>

<p>a city symphony in miniature, dedicated to anyone who has gotten lost in thought while stuck on the midwinter train. to all that unfolds in those private reveries.</p>

<p>A tiny rural village is a paradise for a city girl and a prison for a local teenager. Two parallel stories take place among tobacco drying rooms during a summer full of magic realism.</p>

<p>&quot;The portrait of my daughters and I showing the relationship between &ldquo;personality&rdquo; and &ldquo;the world/society&rdquo; as of 2018. This is the story of an intense dichotomy within/outside me. Going back and forth between &ldquo;personality&rdquo; and &ldquo;the world/society&rdquo;, my daughters become social/universal existences from personal existences. The definition of &ldquo;red&rdquo; is extended to &ldquo;life&rdquo; and appears as a powerless, religious Daruma doll that loses its arms and legs. &ldquo;White&rdquo; and &ldquo;black&rdquo; rise above a simple dichotomy and begin to possess the concept of &ldquo;gray&rdquo;. And the world that is made of a mixture of various colors becomes &ldquo;transparent&rdquo;. If you continue to cling to &quot;personality,&quot; it changes to &quot;the world.&quot; This is my destiny in all my creative pursuits, and it shows what the world is like.</p>

<p>An essay film that addresses trauma-related memory loss through reflections in light outside the visible spectrum, in what is felt but never seen. Shifting between planetary macroscales, physical phenomena, and individual narratives, the artist considers violence and its workings, class, and queerness not through representation, but from within. While reflecting on the effects of the invisible and the power inherent in transposing violence beyond visibility, the piece simultaneously reflects on digital archives and technologies that help shape contemporary human relationships with the past, present, and future.</p>

<p>The addresses are covered in this incandescent liquid. 35mm aniline-painted. Times of fires, Vulcania is perhaps a metaphor for the present.</p>

<p>Walking through the streets and ruined houses of Belchite and Corbera d&#39;Ebre is like revisiting the summer of 1937 and 1938, when German air force and Franco&#39;s artillery devastated the cities. Today, the old towns bear silent witness to the violence and brutal consequences of the Spanish Civil War, preserved as a reminder of those battles and one of the many wars that should never have happened.</p>