2019 Festival Internacional de Cine Cámara Lúcida

<p>On March 6, 1906, four men were sentenced to death for the attempted assassination of former Colombian President Rafael Reyes. The event was photographed, and the images were later used to create a fictional film about the failed coup d&#39;&eacute;tat. Since then, Colombian cinema has revolved around the country&#39;s daily violence. A documentary that began as an essay on Colombian visual culture soon became an exercise in self-examination by the director, questioning how home movies and the media shaped his view of his own country.</p>

<p>&quot;Indonesia, the homeland for which I shed my blood.&quot; Abandoned to their fate on the margins of society and stigmatized by their families, the young punks of Jakarta speak out. The conflict that young punk Eka has with his parents stems from a profound search for individual freedom. Meanwhile, not far away, connected to the land and embracing similar ideas, are the local indigenous tribes. They have found freedom in perfect harmony with nature, but they struggle to defend their identity.</p>

<p>Marcelo has a very good memory. He remembers family stories and has visions of his past lives. In one of them, he was Novalis, a German poet chasing a blue rose. But in his current life, what is Marcelo searching for?</p>

<p>Three spy stories in the Middle East, filmed on a trip to Tehran, another to Cairo, and based on previously unseen archive footage from Sana&#39;a, Yemen. A love story, a thriller, and a bit of paranoia.</p>

<p>The protagonist lies naked in front of a webcam and offers a brief description of herself: 1.80 cm, 70 kg, born in the 1980s; German by birth but French in culture; omnisexual, intersex, non-binary. Is this a body trying to find meaning, or meaning seeking a body in which to perform and find a way of being, a possibility of existing? Through filming herself and the configuration of her digital identity through her social media, the protagonist (and director) creates an original and intimate self-portrait, both novel and contemporary.</p>

<p>The first part of a diptych about Karelia, a border region between Finland and Russia and the homeland of the Karelians. Andr&eacute;s Duque narrates, in a fragmented and essayistic way, historical moments where the real and the fantastical of a culture collide.</p>

<p>Since 2015, the Landless Workers&#39; Movement has been occupying the land of an indebted sugarcane factory to push for its redistribution through agrarian reform. Abuela and her fellow campers are fighting to conquer a small portion of the land where they can settle and live a self-sustaining life, growing agroecological crops in a newly woven peasant community they envision in their dreams.</p>

<p>After a devastating earthquake, Nga, an old elephant and likely the last of his kind, and Sanra, his mahout, are about to embark on a journey to find the mythical elephant&#39;s graveyard. A group of poachers follows them, and a journey of discovery and mourning begins. The poachers will die one after another under mysterious circumstances and spells, while the viewer becomes the sole protagonist, on a sonic journey to the graveyard and beyond. An adventure film that becomes experimental and then transforms into an abstract science-fiction documentary.</p>

<p>It begins with an empty factory, a surname, and a trunk of files; it&#39;s the poetic journey of an aspiring filmmaker in her grandmother&#39;s house, while awaiting the arrival of her first child. This was me five years ago. A fantasy between oblivion and the invisible; woven from scattered materials, archival documents, and wordplay, for a film diary about the transformation of the female body, the question of impossible transmission, and the fabric of time.</p>

<p>After my house burned down, I return to the places where I grew up to reconstruct my childhood memories. On this journey, the memory of Karin Eitel, a woman detained and tortured during the dictatorship to whom I owe my name, emerges. A story my parents never spoke of brings me closer to Karin, not just because of my name. In the background, the memory of a childhood in a country that rebuilt its democracy while omitting its own history.</p>

<p>In September 1973, days after the coup d&#39;&eacute;tat, 19 workers from a Chilean paper company disappeared after being arrested for their involvement in unions or leftist parties. Forty years later, a police officer broke the pact of silence, revealing the involvement of the private company CMPC in the deaths of these 19 men. The case remains open today.</p>

<p>&ldquo;We&rsquo;re used to visualizing a house by its roof, windows, and walls. But in the end, as soon as we move away from here, my heart breaks.&rdquo; Filmmaker Kavich Neang&rsquo;s father is one of hundreds of residents forced to vacate Phnom Penh&rsquo;s iconic White Building. This housing block witnessed a stunning series of events: the golden age of the young nation; the traumatic collapse under a radical regime; decades of cultural renaissance concentrated within its walls; and the accelerated pace of capitalist development that ultimately led to its demise. Now, the once radiant white walls have turned gray and deteriorated. Neang, born here in 1987 and raised within these walls, once dreamed of filming a work of fiction on this site; but reality overtook him. Now, this location is part of his first feature-length documentary. When demolition comes, only memory remains.</p>

<p>An expanding mycelium. The starry sky above the Romanian Carpathians. The first two images present the dimensions that are at the center of Holland: fine details and structures on the one hand, constellations and the larger image on the other. The focus is on a seasonal asset of the area: the mushroom. Among people, it is the foragers who are closest to them, and the focus of the film is on them: on walks in the forest, at camp, during car rides and conversations. From this, we deduce the rhizome-like ramifications that continue to expand in the form of money: to local and international traders, to an improvised shoe market in a clearing, to betting among colleagues. The film speaks of these commercial cycles, assuming a mushroom-like structure without ever losing its center of thought. Beyond an analysis of economic structures, however, it is also a sensual document of a rhythm of daily life in the forest, so experienced by the foragers as the first link in the recycling chain. In the cinema, it can be experienced as an audiovisual journey into the magical world of the Carpathian forests.</p>

<p>Bruna Carvalho Almeida&#39;s debut film traces a parallel narrative: from the 1992 VHS footage, which forms a fragmentary fresco of the lives of the well-to-do young Baumanns, to a quarter of a century later, when a voice-over unravels the mystery surrounding the investigation into their disappearance. The zigzag movement inevitably refers to the comparison of Brazilian youth in two eras: that of Fernando Collor de Mello, Brazil&#39;s first president after the restoration of democracy, and that of our present.</p>

<p>Remapping the Origins, an essay-style film about the city of Białystok, reflects on history and memory in a city with a pluralistic and revolutionary past. The birthplace of two visionaries&mdash;Zamenhof and Vertov&mdash;the city is currently characterized by a strong right-wing political dominance in Europe. The film brings Białystok&#39;s legacy into the present and connects it to ongoing social events.</p>

<p>One night, seven years ago, Rafael returned home from work to discover that strangers had come looking for him. He fled immediately, never looking back. From that moment on, his life changed, as if that night had never ended.</p>

<p>It&#39;s summer in Madrid, and the park is filled with excited, hyperconnected, and anxious young people unleashing their impulses: finding love, awakening desire. At the end of the film, the words and images of &lt;3 will merge with the trees and trickling fountains, and, live, Troia and Dvein will create new images and sounds that, from nerves, from laughter, from their guts, show us love and desire.</p>

<p>Anteu is born in a village where he is the only child. His mother dies after a while, and his father soon follows suit. One by one, all the villagers disappear, and 17-year-old Anteu becomes the only inhabitant. One night, a dream poses the question in his mind: &quot;Who is going to bury me?&quot;</p>

<p>After committing a crime, a man hides in the woods. Shot in the Portuguese highlands on 16mm film, the film follows Henrique, a lonely man on the run from his life and the world. In a progressively immersive style, you are transported into this space of solitude, in search of what truly moves the protagonist.</p>

<p>Jiro, a Japanese man in his seventies, lives serenely in his garden in Portugal, the country where he decided to settle after a trip he took in his thirties. Aya, his daughter and the director of this film, relives this journey by talking to him, who in turn talks to his photographic archive. While Jiro loses sight in his left eye, Aya brings life and sonic energy to his archive.</p>

<p>A feverish drama in which two shadowy figures meet in a decaying city. The night Robert and Teresa meet seems endless. What follows is an emotional shift and a sleepwalking journey through the dark streets of Belo Horizonte: the couple grows closer, but circumstances soon force them apart again.</p>

<p>Pedro is a night watchman at a construction site who spends his hours wandering empty hallways with an old radio. At the end of the workday, he returns home to the outskirts of the city where his young son, Juampi, is waiting for him. Immersed in a context filled with uncertainty, this single father tries to be there for at least one person.</p>

<p>After being diagnosed with leukemia in 1993, Danny picks up a camcorder and begins creating a film, with himself as the central character. The lo-fi Vancouver cityscape reflects an alienated existentialism as Danny confronts his personal demons, spurred on by his own mortality. Danny, like himself, is impressive, funny, and smart enough to have built his own sailboat, but also neurotic and full of regret. What emerges is a sometimes hilarious, sometimes heartbreaking found-footage documentary about illness, mental illness, manhood, and the meaning of life.</p>

<p>An owl encounters a dove in a twilight rift, entering territory where it knows it doesn&#39;t belong. In this unfamiliar universe of sound/image, two worlds always seem to collide: the hiss of a cassette tape/walker, the voodoo ritual/new morning, and the funeral/fisherman&#39;s boat. Loosely inspired by a Haitian fable of the same name, &quot;The Owl&#39;s Tale&quot; discreetly traces a small chapter of Mackenson, a Haitian immigrant who finds himself in the post-Haitian-immigration-wave social context of contemporary Brazil.</p>

<p>Drugs, vampirism, existential crises, and melodies from another era mark the lives of several characters: an underground cinema sex symbol, two cursed lovers, a man searching for salvation, an unsuccessful actress, and a Japanese woman with a mysterious illness. Five seemingly independent stories with a curious connection: Paul Morrissey, collaborator of Andy Warhol&#39;s Factory.</p>

<p>Los Reyes is the oldest skatepark in Santiago, Chile. But the &quot;kings&quot; of this story are Chola and F&uacute;tbol, ​​two stray dogs who have made this space, filled with scooters and teenagers, their home. Among noisy young people, they spend their days dozing and playing ball, oblivious and indifferent to the human drama surrounding them... As we witness their games and adventures, we get to know, through their conversations, the different humans who inhabit this space. Between jokes, absurd dialogues, and family problems, Chola and F&uacute;tbol have become observers (or should we say listeners?) of their stories and concerns.</p>

<p>Dawn breaks in the Guajira Desert, and Doris, a young Wayuu woman, wakes up uneasy in her hammock. She has had a dream she doesn&#39;t know how to interpret, and upon telling it to her grandmother and the rancher&iacute;a&#39;s traditional doctor, she realizes that her cousin, who died several years ago, is asking her to exhume her remains and rebury them in the family cemetery in the upper Guajira. This ritual, called the Second Burial, is the most important event in the life of a Wayuu person and is a cathartic process that will bring Doris into direct contact with death, the spirit world, and the memories of her cousin.</p>

<p>After being appointed literary executor, Audrey Benac discovers a series of letters that her great-grandmother, Zofia Bohdanowiczowa, wrote to another poet. For three days, she travels to Harvard University to examine and make sense of Zofia&#39;s words.</p>

<p>The mountains of Minas Gerais, in southeastern Brazil, are hollowed out and gutted by mining activities in the region. Through editing, the director creates a connection with the French region of Nord-Pas-de-Calais. Although the area is geographically remote, like Minas Gerais, it was once a center of mining exploitation and is now being rehabilitated as a biodiversity reserve.</p>

<p>In the central depression, the sun never stops shining. It was there that archaeologist Margot Moreira was born, and she is here to cure her &quot;Disability Syndrome&quot; by rewriting history. &quot;Dead Princess of Jacu&iacute;&quot; is an anachronistic science fiction story about disturbing progress.</p>

<p>Patricia plays Marta, an actress who spends her days calculating and recording in a notebook the calories she consumes, the seconds that pass, or the steps that separate her from her house to the post office. Obsessive and methodical, plagued by existential pain that translates into anorexia, her character seeks a way to reach her inner essence with every breath, every gesture, and every thought. This is how Leonor Noivo&mdash;her close friend, whom she met in a fictional film many years earlier&mdash;films her, creating a very blurred line between the portrayal of her character and the portrait of the real person.</p>

<p>This intimate diary is interwoven with experiences and memories narrated in the first person using Super 8mm footage filmed between 2010 and 2018 during various trips to countries such as Portugal, Germany, Denmark, Guinea-Bissau, Argentina, and Peru. Lost loves, friends, family, and loved ones. Joys and sorrows. Spaces traveled. This self-portrait reflects on the lightness and depth of memories, on the uncertain forms of memory and the possible ways of portraying nostalgia. A climactic, beautiful, and poetic film that focuses on the banal and the transcendent, the everyday and the unrepeatable.</p>

<p>The wind, the birds, the sweat, the hands, the wheelbarrow, the drought, and the burial. Is it possible to disappear in the desert? Totoral is a village that seems to disappear among its hills; the trees are withering away, and the people are aging. They, along with their animals, erase their footprints and their passage in time.</p>

<p>Sometimes it&rsquo;s not until the project is finished that I begin to know what the project is about.</p> <p>I&rsquo;d been sifting through this footage: travel movies, home movies, fragments from projects that never became more than that. It was the summer of 2018 that I began assembling these parts, working intuitively, letting the process guide me and I began to realize that I&rsquo;d made a Rorschach test for myself, a formalist self-portrait of my Belgian-Japanese-American-Jew heritage and a personal emotional journey following my mother&rsquo;s passing, my father&rsquo;s remarriage, and Emma having my child.</p> <p>January 2019 while shooting in Hong Kong, I finished the video. It felt more like it finished itself amidst my conversations with Julian Ross, Tiffany Sia and Andrew Vaterlaus-Staby. Thoughts about T saying she&rsquo;d come home to watch home die. Thinking about how a friend of my mother&rsquo;s told me that I&rsquo;d never feel at home in Japan or the United States, how that was sad but also true and reassuring.</p>

<p>Altars are an audiovisual sanctuary consisting of small temples containing images of ancient deities.</p>

<p>To return again. Realignment is the purpose of these visits, perhaps. The geography of origin becomes a catalyst for an internal realignment with the secret, private, and unspoken work of one&#39;s own being. Looking in layers, sliding planes of windows and time, the fragmentary gesture of dance. A series of rapid contrasts, a synthesis of elemental, everyday experience. Structures shift and intermingle, two worlds become one.</p>

<p>An ancient artifact, an alchemical algorithm, astrological archaeology.</p>

<p>Fog: Lack of clarity that clouds the mind or surrounds an event</p>

<p>In the mountains of C&oacute;rdoba hides a historical scar. In 1575, hundreds of H&ecirc;nia-K&acirc;m&icirc;are women, children and elders jumped off in order to avoid slavery. A free, poetic view at the very place where the largest mass suicide in the history of the territory known today as Argentina took place. The film is a phantasmagoric trip within this geographical extension, taking it as a vast, green cemetery.</p>

<p>Accentuated by the audio fog of alien paranoia radio, the dreamlike images of Serbia merge with the Canadian Shield in northern Quebec: a conjuring of specters through hypnotic frequencies.</p>

<p>Helena was five years old when the Kosovo War began in February of 1998. She and her family were forced to flee their homes as Serbian soldiers swept the countryside, massacring ethnic Albanians and destroying their land. &ldquo;Days of War&rdquo; is a meditation on these experiences of war and displacement.</p>

<p>A film about a dying world populated by mythical creatures and spirits, our personal meditation on nature and the environment captured on Super 8 film.</p>

<p>Featuring crystallized magic markers and the kidney stone of a horse, the generously-curated mineral collection of Mary Johnson comes to life in a manual labor of love for the process of archival procedure.</p>

<p>Visual explorations and technical possibilities of a new camera. Bursts of time, flashes and fragmentation.</p>

<p>Leonel Vasquez, along with carpenters and fishermen from the coast of Valpara&iacute;so, Chile, built a boat/sound installation following the almost extinct tradition of the artisanal wooden boats that still ply these waters. Through the wooden speakers on board, you can hear the voices of artisanal fishermen narrating in first person the struggles they face every day to survive in the face of bureaucracy and industrial fishing.</p>

<p>An illusory meditation on New York City street culture, represented through a collage of overlapping events and characters that randomly collide during the process of filming, chemical development, and digital scanning. Through this method, the artist embraces accidents and coincidences in favor of artistic expression.</p>

<p>Between 1932 and 1957, at the Specola Tower in Bologna, a new optical technology was invented, one that would revolutionize outer space observatory methods. The tower&rsquo;s four floors were perforated and a series of hexagonal mirrors were installed side by side at its base, creating a giant telescope of 2 by 24 meters. A mobile camera was set at right angles to the mirrors, with a focal length of 10,41 meters, exposing thousands of glass plates which offered a systematic overview of the city&rsquo;s zenithal sky. Thirty years of research were necessary for the astronomer Guido Horn D&rsquo;Arturo to invent the specchio a tasselli &ndash; also called multimirror or segmented mirror &ndash; an archetype of today&rsquo;s most advanced telescopes. Full of point-like shapes, these photographic plates are now also full of spots and traces of deteriorated emulsions. This silent film, made by Giuseppe Spina, is composed of digital scans and blow-ups of Horn D&rsquo;Arturo&rsquo;s plates.</p>

<p>Dancer Nonoko Sato at Kaos No Ma Gallery in Kyoto, Japan. Shot on Super 8 on long-expired Kodachrome and hand-processed with Caffenol. Each frame of the film was variably exposed by up to a second, distorting Nonoko&#39;s movements. Nonoko Sato is an independent artist based in Kyoto and a former member of Kiraza Butoh Company. Special thanks to artist/collector Sunamoto Matuo, Kaos No Ma Gallery. Director Biography - Michael Lyons</p>

<p>The body re-exists and persists. It is never a sealed envelope, but rather a channel of passage and trance between the most diverse spiritual dimensions (Obatala Film). A devotional film, a cinematic offering, a gift film. Filmed in the mythical Ile-Ife, the sacred city of the Yoruba people and founded by the Orisas, this film seeks to sensorially affirm the vertigo of coming into contact with Obatala, the Orisa who creates the world and light. A trance of sparks of light, of bodies in spiritual connection.</p>

<p>&quot;Is Not&quot; is a cumulative poem, with a continuous writing process that could last a lifetime. With this list of &quot;what appears to be but isn&#39;t,&quot; Parsi observes spaces and people in perpetual motion, creating another poem that caresses, collides, and swirls alongside &quot;Is Not.&quot;</p>

<p>Many cities or countries have a distinctive malaise. They are places that could be Portugal, so sunk in a painful longing for the past, and where each tension of the present is only the tip of an iceberg explained in successive retreats that can go directly to the origin of the species, at least. This common feeling in many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past.</p>

<p>The pyramid used to be a mountain.</p>

<p>Plaza Rakyat, or People&#39;s Plaza, is a mixed-use skyscraper complex in Kuala Lumpur. Development was suspended in 1998 due to financial difficulties. Part of the building has remained unfinished ever since. The short film uses 12 photos to destroy and reconstruct the time and space of the abandoned remains</p>

<p>Sibila leaves Constantinople for Nara&iacute;o to live out her days consumed by melancholy over the love sickness caused by her twin brother Silv&aacute;n. Starting with one of the many stories which unfold and emerge in syncopated fashion in &Aacute;lvaro Cunqueiro&rsquo;s El Caballero, we recreate a small, aesthetically refined story using ellipsis to offset the author&#39;s characteristic horror vacui.</p>

<p>In the vibrant space of images, the gods, each in their place, come to us by a cry or by a face, and the color of the face has its cry; and the cry is worth its weight in images in the space where life matures.</p>

<p>A personal document of life over the course of one summer in Buenos Aires, &quot;The Impossible Flowers&quot; collides the voices of close friends, everyday images, and quotes taken from a variety of diverse literary sources into a single intimate stream of consciousness.</p>

<p>The poet Ali Sarandibi takes us to an experimental journey in to his work place in The Grand Hall of Books in Enghelab street in Tehran,best known for its bookshops and Tehran University.The sound bites from the shopkeepers tell the story of the arcade and how their work condition has changed lately.</p>

<p>Salma Shamel&rsquo;s Those That Tremble as if They Were Mad is a wry lamentation of a future not grasped. In the aftermath of Egypt&rsquo;s 2011 revolution a government committee was set up to compile an archive of the revolution&rsquo;s events, only to be dissolved following a coup. Through a parade of the committee&rsquo;s ephemera of CD-ROMs, certificates and contracts, Those That Tremble mourns what could have been, to a soundscape of mass distress.</p>

<p>In Valdedi&oacute;s, Gualterius built a monastery in the 13th century. In Valdedi&oacute;s, there is a wall, there is a horse, there is a road, there is the entire universe.</p>

<p>A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they&rsquo;re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren&rsquo;s reflections of failure, encounter and initiation in 1950s Haiti. A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.</p>

<p>In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.</p>

<p>Leaving one hometown and searching for the next.</p>

<p>The soaring stillness breathes on the path that being blurs. Chiaroscuro silence, my face falls like a leaf.</p>

<p>Karl Dieter Gartelmann, a German photographer and filmmaker, arrived in Ecuador in the 1970s, at the height of the oil boom, armed with an old 16mm Bolex camera, and began a journey through the Ecuadorian jungle, collecting visual evidence of a life on the way out along rivers and forests. This documentary brings together the director&#39;s lifelong concerns: culture and nature squandered by extractivism. A conversation between two directors about the creation of memory through film.</p>

<p>A few years ago the indigenous musician Delf&iacute;n Quishpe uploaded a video clip on YouTube of his song Torres Gemelas without imagining the impact it would have. For some, the video was strange and in bad taste, however his charisma and his lyrics made him a celebrity. After ten years, Delf&iacute;n still has not overcome the hangover of fame and now he struggles not to turn off the magic of his music, in a world of ephemeral stars in the digital age.</p>

<p>Isidro meanders through the rainforest as he and his brother recount the times he found himself face to face with death itself.</p>

<p>How do poets speak truth to power? How can we reimagine who and where we are? How do we rebuild our sense of self through poetry in post-apartheid South Africa? And what is it about poetry that makes it such a powerful vehicle for sociocultural transformation? Outspoken explores the performance poetry scene in Cape Town.</p>

<p>Being a small cog in the system can make you feel powerless, paralyzed. Yet, there are some &quot;ordinary people&quot; who don&#39;t give up shaping the world to their liking, even a little. These are the people film director Daniela Delgado Viteri calls &quot;good walkers.&quot; They refuse to follow prescribed routes and beaten paths. They take shortcuts. Viteri&#39;s mosaic of fictional interviews explores five examples of resistance through subversion. One involves inviting tourists to visit his shabby, exotic cabin and making them pay an exorbitant price for the pleasure. Another involves attending a political demonstration to dance and eat as many free sandwiches as possible. The footage, which is as messy as the life it documents, was filmed in Peru and Ecuador, where most of the population can expect very little from the powers that be.</p>

<p>In the 1960s, Texaco named a small town in the Ecuadorian jungle Lago Agrio, a translation of &ldquo;Sour Lake,&rdquo; the Texas town where the oil company was founded. This name forms the framework from which this short film was created, shot from the outskirts of this town to the Colombian Andes, where the jungle vegetation begins to merge with the mountains. These geographical locations, interconnected for centuries, are beset by numerous economic, ecological, political, and territorial issues that have been brewing since the 16th century, when Spanish conquistadors explored them in search of El Dorado. It is through these geographical, social, and imaginary intersections that Sour Lake examines the relationships between these territories and their inhabitants.</p>

<p>Shot in Boyle Heights in East Los Angeles, this transitory neighborhood resonates with the poetry of local resident Mapkaulu Roger Nduku. Verses about endings, looking and passing through open up the space projected. A string of tableaus gather a portrait of place and compose a goodbye letter to an ephemeral home.</p>

<p>On an east-west journey, the windows of a bus frame transient sections of the cityscape. Over the course of a day, the camera captures images of passengers, textures of light, and fragments of bodies in space as it weaves a moving portrait; a contemplative journey through public transportation in Los Angeles. Isolation, routine, and the glare of everyday life form the backdrop for this journey, while the intermittent sounds of cars and the city create the soundtrack. The daily commute is revealed in the details.</p>

<p>The journey through a foreign country begins with the movement of a handheld camera that captures images through a car window. Raindrops on the glass abstract the urban landscape, creating a clear separation between inside and outside. Guided by fragmentation, our gaze perceives reflections, shadows, and mirrors that transform into a danger that is both palpable and distant.</p>

<p>Remembering Yesterday observes the construction of identity and memory through everyday textures in a portrait of Jackson Heights, New York, home to a large number of Latin American immigrants. Images of the street, people, and daily rituals depict the passage of time in a neighborhood that becomes a mirror of its inhabitants&#39; place of origin, as well as of the past. The landscape reflects the creation of a new condition and the displacement within this new environment. The meaning of home is born from public space and a collective recollection.</p>

<p>This is a work for the regeneration of the avant-garde, of the front line. This is a media attack directed at the disturbing omnipotence of hyperrealism and fascist banality. A violent collage, fragments of simulated riots, riots in the waste of media. (Collective Jeune Cin&eacute;ma)</p>

<p>A nightmare, a perpetual condition of the object, an erosion of the physical, a slow fall before a mechanomorphic veil, a digital twist that penetrates a global spectacle. The debut feature by iconoclastic American filmmaker Mr. Woods, an immersive experience that oscillates between a paralyzing nightmare and an intoxicating artistic exercise. Combining digital and hand-made 16mm forms, such as glitch and datamoshing, Dailies From Dumpland is an anti-Trump pamphlet, a visionary and documentary work on the current political situation in the United States.</p>

<p>This is a document of an afternoon recorded on Skid Row.</p>

<p>As I dream, the closing bell rings and its tendrils burrow in to impregnate the infections; to draw out the incarnated digital disease and burst the LCD cyst; a tumult of nothingness that attracts with a toxic flash; an overturned structure of superfluous and dying signs, soiling everything, suffocating everything; even in organic tissue, digital implants supplant, rot and crystallize, flicker and swirl, sprout, metastasize, vomit, ejaculate, permanently imprinting the afterimage of today where there is no futures trading. 16mm analog print from four rolls of multiple-exposure film in the camera shot on a Bolex.</p>

<p>Some syrups can give you carnivorous desires to conquer sexual inadequacy and point your camera at the infinite void of nothingness. It will make you dance like you&#39;ve never danced before, disguised as pieces of nothing, wrapped in packets of digital data nowhere, moving frantically from central digital evil to all kinds of things beyond your knowledge, to your consciousness.</p>

<p>Shot at the Film Farm in Mt.Forest, this comedy is a quest about performance, educational voiceover, analogue filmmaking, ASCII, language, ethics of ethnography and narrative storytelling under a metaphor of instructions to farm land. Text by Barbara Kirshenblatt-Gimblett and Wikihow/shoot-film.</p>

<p>Borrowing words from Laura Mark&#39;s &#39;Transnational Object&#39; and D.W. Winnicott&#39;s &#39;Transitional Object&#39;, all carefully etched into the surface of 16mm film, Nazli Din&ccedil;el&#39;s latest work, Between Relating and Use, is an attempt to work ethically in a foreign country. Shifting from assuming the position of ethnographer, we turn and explore inward, exploring how we use our lovers.</p>

<p>The ground holds accounts of once pagan, then christian and now muslim ruins of the city built for Aphrodite. As she takes revenge on Narcissus, mirrors reveal what is seen and surfaces, limbs dismantle and marble turns flesh.</p>

<p>&quot;Fallas&quot; is an experimental feature (2016-Ongoing) consisting of 38-40 single-camera reel films, each dealing with a human failing.</p>

<p>The director does what she wants with her vagina in Solitary Acts #4.</p>

<p>A transcription of what I have been told during intimate experiences while separating from my husband. Obscured images clear out while the hand scratched text becomes harder to read with each section. Direct sound of cuts and hand processing are composed of 26 frame shots.</p>

<p>The filmmaker films herself practice kissing with a mirror. She recalls teenage memories of overconsumption, confusing oral fixations that are both sexual (kissing) and bodily (eating). She ends up eating the carrot she is masturbating with, and she feels a sense of cannibalism.</p>

<p>This is a feminist critique of the Oedipal complex. The filmmaker recounts an abortion she had in 2009. The aborted child survives and becomes her lover. Her subject is filmed in a private act, complicating what could be an act of the solitary.</p>

<p>Images of friends and landscapes are cut, fragmented, and reassembled on an overhead projector as hands guide their shape and construction in this film stemming from Hollis Frampton&rsquo;s &ldquo;Nostalgia&rdquo;. The voice tells a story about a not too distant past, a not too distant ruin, with traces of nostalgia articulated in terms of lore; knowledge and memory passed down and shared not from wistful loss, but as a pastiche of rumination, reproduction, and creation.</p>

<p>In this video, drawing from Bob Dylan&#39;s song &quot;Just Like Tom Thumb&#39;s Blues,&quot; layers of experiences circling loss and longing are overlaid between images of landscapes and movement. In the song by Dylan, a stranger&#39;s listlessness and exhaustion are woven through and around Juarez, Mexico, and so too in this video are these stories woven around colonial discontent and uncertainty as they move through an uneasy negotiation with the strangeness of the American pioneer spirit.</p>

<p>Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska, or the Indian Pipe Plant -&nbsp;used by the Ho-Chunk to revive those who have fainted.</p>

<p>An elegy to Diane Burns for the forms of mortality and being, and the shapes the transcendent spirit takes as it descends upon landscapes of life and death. A place for new mythologies to syncopate with deterritorialized movements and songs, reifying old routes of reincarnation. Where resignation gives hope for another chance, another way, for a return to the vicissitudes of the living and all their refractions.</p>

<p>The title of this video, taken from the texts of architect Kengo Kuma, suggests a way of seeing everything as &quot;interconnected and intertwined,&quot; as the historical and the present, and the tool and the artifact. Images and representations of two structures in the Portland metro area that have direct and complicated connections to the Chinookan people who inhabit(ed) the land are woven from audiotapes of one of the last speakers of Chinookan Creole Chinookan. These localities of matter resist their reduction to objects and reclaim the space and time given to wandering as a deliberate act, and to the empowerment of shared utility.</p>

<p>In a summer of intention and wandering, an Unangam Tunuu elder reflects on landscape and fauna, language students play and teach invented games, and a portrait takes shape of a place through the dim and distant glimpse of a visitor on an island in the center of the Bering Sea.</p>

<p>&quot;A double tribute of love: to the last film made by Japanese director Yasujiro Ozu (1903-1963), &quot;Sanma no Aji&quot;, 1962, and to A Rising Sun That Appeared on My Horizon (2018). It is composed with films, music and sounds from &quot;Sanma no Aji&quot;, as well as with original images taken in 2018 during a train journey between the cities of Ouro Preto and Mariana (Minas Gerais, a state of Brazil) and during a sunrise in the city of Salvador (Bahia, Brazil).</p>

<p>Humans, animals, earth, wind, and water converge with the same energy of a cinematic fire, which permeates and connects them. With educational images from 16mm films, once used to educate us, Con un certa Animal evokes a poetic collision between images of the human and the animal.</p>

<p>It all begins with the haunting image of a heart as a symbol of life, along with a compulsive rhythm of systole and diastole. Both serve as a driving force to begin delving into family memories, social conventions, existence and its opposite. Produced and edited, literally, with an open heart.</p>

<p>In 2015, four 8mm reels of hardcore pornographic films from the 1960s were found in a dumpster in Buenos Aires. In 2019, we treated them with sulfuric acid and caustic soda. The emulsion expands and contracts with the bodies, merging with each other until it is completely abstracted. A duel between censorship and explicitness.</p>

<p>Created after the musical &quot;Tangible&quot; composed by Raquel Garc&iacute;a Tom&aacute;s, the film &quot;Falta de luz&quot; is a phantasmagoria that explores life, death, and the things in between.</p>

<p>Enter through that gap between frame and frame, between image and sound, straight to the nerve. Leave the eyepiece behind to immerse yourself in the acoustic.</p>

<p>&quot;K&ouml;z&eacute;rt&quot; (translation: &quot;for the public&quot;) was a government owned chain of stores in Hungary, during the communist era (1948-1989). The word K&ouml;z&eacute;rt is still used in the Hungarian language. Our film was made from the 35 mm celluloid raw footage of its advertisement: the film strips were digged in the soil, rotten with food and cut up in pieces.</p>

<p>Essay commissioned by the Portuguese Cinematheque, based on the restoration of newly digitized analog footage of &quot;Rita ou Rito? ...&quot; and &quot;O T&aacute;xi n.&ordm; 9297&quot; (Reinaldo Ferreira, 1927), two silent Portuguese films dealing with transvestism, racial tensions, crime, and drug use in the 1920s, before the Estado Novos dictatorship.</p>

<p>A montage about family political activism; the constant appearance of Tlaxcala as a territory welcoming the invasion; the social communications stemming from visits by high-ranking heads of state to the small colonial city. Images that run counter to the indigenous prophecies predicting the arrival of Spain; but also to the promises that preceded the signing of the Free Trade Agreement and the UFO historiography so deeply rooted in Mexican culture.</p>

<p>Temple of Truth is an archive that constantly ambulates amid tangles of decaying worlds, ex-perienced as petrified, deprived, residual traces, preserving in the process of taking along and transforming itself, a magmatic state, a specific, ancestral, sometimes whitish non-space. A liveliness of half-alive bodies , both human and animal, that catch fire in a latent bullfight and which, in becoming persōnae, inhabit sarcophagi which crumble into solid ground like streams of water that suddenly submerge clouds, swinging on the brink of a vertiginous fall of nocturnal glances in the middle of exotic poses and aerial visions.</p>

<p>&quot;The Great Attractor&quot; is a film that derives from the myth of Icarus to explore the relationship between humans, their planet, their star, and their inherent destruction. Divided into three moments, the film brings together moving images spanning the 19th to the 21st century, speaking in secret about cinema&#39;s relationship with light and the movement of human and celestial bodies.</p>

<p>In memory of Lorenzo and Mario Gattorna.</p>

<p>A visual imagery of noise in three chapters: &quot;See,&quot; &quot;The City,&quot; and &quot;On Fire.&quot; Everything you see is from heritage archives belonging to the University of Chile&#39;s Film Library. Everything you hear is a composition based on fragments of the sound poem &quot;I See the City on Fire,&quot; which Crist&oacute;bal Cornejo (1983-2015) described as a piece of life and death.</p>

<p>Two University of Virginia fighters receive training.</p>

<p>Students reclaim a gathering place on the University of Virginia campus. Sacred ground. A transcendent space of communion where young people can listen to music, discuss politics, dance, flirt, and live life to the fullest. This film pays homage to the Black Bus Stop, an informal gathering place for Black students at the University of Virginia, but iconic during the 1980s and 1990s.</p>

<p>Fastest Man in the State features Kent Merritt waxing poetically about being one of the first four Black scholarship athletes at the University of Virginia.</p>

<p>How Can I Ever Be Late takes the tarmac arrival of Sly and the Family Stone as a point of departure: African American students of the University of Virginia greet the band at the airport in 1973.</p>

<p>Rappers and gospel singers, on the streets and in their homes&mdash; different generations from the African-American communities of Mansfield, Ohio, sharing their passions through music and gestures.</p>

<p>In a&nbsp;small side room that is freely visible from the main gallery, visitors can look at&nbsp;<em>Polly One</em>. As in&nbsp;<em>Condor</em>(2019), the sky and the sun are the focus here. Although both works depict an eclipse of the sun, the aesthetic that defines this small projection&nbsp;<em>Polly One</em>&nbsp;is different. The sun is reduced to a&nbsp;thin crescent by the moon, but is nonetheless resplendent in bright matte colors, and the rapidly changing cloud formations continuously alter the picture. Over-exposure and light reflection occasionally give the film a&nbsp;red-orange color. The film was made in the small town of Saluda in North Carolina. On August&nbsp;21,&nbsp;2017, a&nbsp;total eclipse of the sun was observed in fourteen states from the northern west coast to the southern east coast. It became known as the&nbsp;​&ldquo;great American eclipse.&rdquo; Everson titled his film for his grandmother, Bertha Everson, who died the day before the eclipse.&nbsp;</p> <p>16mm film transferred to&nbsp;HD&nbsp;video, color, silent,&nbsp;6:12&nbsp;min.</p> <p>Courtesy the artist, trilobite-arts&nbsp;DAC, Charlottesville, Picture Palace Pictures, New&nbsp;York</p>

<p>Alessandro de&#39; Medici makes an impassioned plea to reunite the good people of Florence. Rhinoceros resembles a televised broadcast during the final days of Muammar Gaddafi&#39;s reign. The film will eventually be incorporated into a feature-length work that examines the parallel worlds of politics and performance in 16th-century Italy and 20th-century Hollywood, through the characters of de&#39; Medici and African-American actress Gail Fisher.</p>

<p>A cinematic exploration of African American intellectual, social, and political life at the University of Virginia, Charlottesville, during the 1970s. The film tells the story of African American women and men who, through their public and private actions, sought to create a beloved community that thrived on intellectual exchange, self-examination, and human warmth.</p>

<p>The anti-Vietnam War Movement from the perspective of budding activist and future U.S. representative James R. Roebuck, a northern-born African American who studied at the University of Virginia during the late 1960s/early 1970s.</p>

<p>Water runs under a bridge. A church looms overhead. A couple films each other on the shoreline. Walking into a sea of chaotic filmic decay.</p>

<p>Views from downtown Mexico City: a poem that evokes a different time and history.</p>

<p>In memory of Nonno Pierino.</p>

<p>Electric reveries forged by the pulsating lights of the CNE fairgrounds, a wonderland of luminescent forms. The circulating, flickering machines become extensions of the camera, their forms hovering halfway between representation and pure light. Filmed on Kodachrome and composited in-camera at 24 fps.</p>

<p>This Super 8 film is a journey through Chicago, which is also a study in color and black and white, the expired and the fresh, and fast and slow pace. I was looking at the city in the snow through Costa Rican artist Federico Herrero&#39;s installation, in the window of the Museum of Contemporary Art Chicago, and I wondered what the difference would be between shooting this gray landscape with color film and with black and white film. As Herrero creates a landscape with blocks of color, what landscape would I create with my two rolls of film?</p>

<p>Poetry watches the film. The film reads poetry. Paolo Javier&#39;s text is a catalyst for the digital sculpture of an 8mm Kodachrome canvas. Syntactical ruptures and the celebration of nouns illuminate twenty-five years of rediscovered cinematic journeys.</p>

<p>A super 8mm film shot on the East Coast is brought west, bleached, and splattered with paint. Remnants of the house remain as frames and stills.</p>

<p>The fourth film in the series, which I shot frame by frame on Super 8, as a daily exercise in animating lines and shapes found in public spaces. For this sketch film, I focused on colors and shapes. It was shot on Kodachrome, all edited in-camera and processed into Dwayne&#39;s still.</p>

<p>In the harsh sun of Terra Long, 350 MYA, a sheet whips in front of the camera, shaped by the same wind that forms the stark, rippling lines of sand beneath it as the film evokes the continued presence of the Rheic Ocean, now vanished in the Tafilalt region of the arid Sahara Desert.</p>

<p>Filmed in the Andean Mountains in the traditional lands of the Atacame&ntilde;o, Aymara, and Calchaqu&iacute;-Diaguita in Northern Chile and Northwest Argentina, ALTIPLANO takes place within a geological universe of ancestral salt flats, volcanic deserts, and coloured lakes. Fusing earth with sky, day with night, heartbeat with mountain, and mineral with iridescent cloud, ALTIPLANO reveals a vibrating landscape in which a bright blue sun forever threatens to eclipse a blood-red moon.</p> <p>Coupled with a soundscape generated from infrasound recordings of volcanoes, geysers, Chilean blue whales, and more, ALTIPLANO makes use of in-camera editing to create evocative visual rhythms through the clash of color and form. Landscapes pulse and stutter, transformed through complex 16mm pixelation and superimposition techniques into spaces that exist in a multitude of times simultaneously. Located at the heart of a natural ecosystem threatened by a century of saltpeter and nitrate mining practices, and recent geothermic exploitation, ALTIPLANO reveals an ancient land standing witness to all that is, was, and will be.</p>

<p>Just as the state&#39;s initial intention was to deny the existence of homosexuality, modern Mexico has used the deprivation of representation itself to erase the humanity of so-called &quot;sexual difference.&quot; The Age of Enlightenment is a documentary re-appropriation of audiovisual material and national narratives, a critical perspective on 100 years of the disappearance of political bodies.</p>

<p>The Canadian Broadcasting Corporation opened the doors of the CBK Transmitter Station in 1939 to serve the prairie region of Canada. &quot;Farewell Transmission&quot; is equal parts an indexical record of the demolition of CBK in 2015 and a subjective response to the residual media documenting the event. The building is framed with tension preceding its destruction: emulsion pulsated as if with decades of radio transmission, creating an unsettled eulogy for a cultural institution.&nbsp;</p> <p>Selected screenings: Dobra Festival Internacional de Cinema Experimental (Brazil, 2017); Festival du nouveau cin&eacute;ma (Montr&eacute;al, QC, 2017); Antimatter Media Art (Victoria, BC, 2017)</p> <p>Best Short Film, Saskatchewan Independent Film Awards, 2019</p>

<p>A film based on fragments of the story The Dog People by Colombian writer Gomati D. Wahn (1923&ndash;1993). The story, which takes place 3,000 years in the future, tells of the character of The Admiral as he searches for the land of the Dog People and the riches it holds. However, as is typical of Wahn&#39;s style, the story is composed from altered existing texts&mdash;in this case, historical accounts of the conquest of what was once known as the New World.</p>

<p>December 1, 2012. Kukulkan has quenched his thirst. Enrique Pe&ntilde;a Nieto is sworn in as President of Mexico.</p>

<p>Mano de metate is a multi-format essay that reaffirms Bruno Varela&#39;s fascination with the realm of memory. The plot, if it were necessary to define it, would be as follows: A girl is marked by an image, an image that haunts and torments her; that memory is also an omen, past and future, but also a dream. This is a clear reference to Chris Marker&#39;s exceptional La jet&eacute;e (The Pier).</p>

<p>Granting culture to nonhumans, Shape Shifting outlines a cartography of a landscape found in many parts of Asia, which in Japan is called satoyama&mdash;space between village and mountain. Satoyama signifies the diffusions between &lsquo;wild&rsquo; and &lsquo;designed&rsquo; and can be understood as a membrane arranged through exchanges and encounters between humans and nonhumans. The basis for satoyama&rsquo;s productivity in agriculture and forestry is based on an increase of biodiversity. The more collaborations between species and cycles of materials are created&mdash;the more stable ecosystem and films can be formed.</p> <p><br /> &rsquo;Satoyama&rsquo; is a concept that refers to an assemblage of transformations appearing on the plane of a landscape. It highlights the symbiotic relation of nonhuman and human life forms and thus undermines human economic and technological activity as the main formative principle. If human activities are no longer in the foreground, but comparable to and in association with the activities of nonhuman animals, the separations of nature and culture, object and subject, earth and history become interchangeable.<br /> Two questions became of particular importance to us: how are natural processes of material transformation entangled in the conditions of production (which are both historical and natural)? And the second: how to perceive the culture and history of nonhuman participants such as animals and plants, but also of generic elements like water, wind, fire, paddy fields, chemical elements, and electricity?</p>

<p>In the fields of Cho Chol, there are R&uuml;trafes (silversmiths). This craft continues as an act of resistance to the great loss and sad history of the Mapuche Nation. Today we rise and continue hammering the metal. R&uuml;trafes Clorinda Antinao and Antonio Chiwaicura continue to write our history for future generations. We seek the opaque glow of the moon and the fog. They are not jewels to adorn the ego, but pieces to heal the spirit and the body, and thus they will sing their stories in future Ngillatunes. The metal continues to speak.</p>

<p>After an earthquake, forgetting is survival, and the camera shouldn&#39;t record the destruction but what remains, for that&#39;s what will disappear next time. &quot;Earth in Motion&quot; is a journey along the perimeter of an epicenter in search of the seismic human, that kind of nation scattered across the globe that lives on the edges of tectonic plates and lacks a nationality.</p>

<p>Seagulls hover and dip on the rocky coastline of Gibraltar Point on Toronto Island. Tilting and multiple horizons camouflage the birds, splintering and gathering the lone gull to the flock.</p>

<p>Of chaos and change, adaptation and resurrection.</p>

<p>It&#39;s a film about suspension. A suspension of thought, inspired by the disappearance of Mariam Makhniashvili, who vanished in Toronto but was found dead two years later. It&#39;s about memory, the power of suspended thought. When a loved one disappears or someone disappears without reason, without a trace, without an answer, without closure, our thoughts enter a very specific state of mind. A state that isn&#39;t clearly defined. The weight of our imagination, our love, our hope become a suspension, a powerful and emotional state. This suspension becomes an intermission.</p>

<p>A collage of collected imagery turned ritual travelogue: from the Sahara to the oceans of South America, passing through an old ancestors abode.</p>

<p>I don&#39;t want to say much about it, just that the film was spontaneous and intuitive, a poem or a gesture of Japanese Zen: a haiku.</p>

<p>Dewy images that travel between the trees and thread themselves with the whisper of the bees. Ingenuousness floats within the milk and imagination emerges from slumber with the bubbles, waiting for the tempestuous awakening of a conscience that silence and skin fore felt.</p>

<p>Nausea Woman walks through the hallways. Inside, Hair Woman, Cigarette Man, and Music Man await the moment of escape, a moment to step out of themselves. Raw Material is a study conducted with users of the community center of the public mental health network in the city of Belo Horizonte, Brazil.</p>

<p>At a remote and abandoned industrial site near a centuries-old ore mine in the Austrian Alps, a self-taught mechanic runs a business exporting used cars to his native Nigeria. As he pursues his solitary day-to-day activities with blissful serenity, the past, present, and future begin to overlap, and memories of a lost friendship resurface against the backdrop of a mysterious promise of eternal resources.</p>