SHORT FILMS
ARCHIVE-GRIEF
The archive as the audiovisual, is reminding us of death, not only as a physical act, but as a transformation, one where the body, the substrate or the form, rots to create something different: another narrative. Life, memory, trip and experience of today are also contemplated, with the vestige lived. This is a selection of short films where file, duel and time are discussed in individual and collective key.
Curator, Programmer:
Andrés Aros
8 SHORT FILMS
1:24:21
RUNTIME
We have classified some of the films with the following tags:
DEBUT | OPERA PRIMA
ACADEMIC WORK | TRABAJO ACADÉMICO
WORLD PREMIERE | ESTRENO MUNDIAL
1.
Skyscraper Film
……………………………………………………………
Federica Foglia
……………………………………………………………
Italy | 2023
……………………………………………………………
Runtime/Duración 0:07:56
……………………………………………………………
Skyscraper Film is a camera-less handmade film collage created from scraps of 16mm orphan films from 1970s. Originally produced to promote tourism in North America these films are remediated by the filmmaker to create an abstract collage via the Emulsion Lifting/Emulsion Grafting technique.
With this technique, the filmmaker lifts by hand the emulsion layer from the film base and subsequently places it on a different film base, this way a celluloid collage is created, then re-animated.
—
Can I use the structure of the film strip as an architectural element, is it possible to utilize the celluloid material of the film as cement. Can these skyscrapers be transformed into something else? Can the solid lines melt into natural sensuous curves? Can I melt the skyscrapers away?
NOTES:
This version of the film has been sound-designed for headphones, please use them if you can.
The film is available in 4K for festivals, FilmFreeway automatically downsized it to 720p quality.
More on the Emulsion Lifting technique: https://knightscholar.geneseo.edu/cgi/viewcontent.cgi?article=1001&context=library-research
……………………………………………………………
W E B S I T E
……………………………………………………………
……………………………………………………………
2.
Vestido Blanco
……………………………………………………………
Carmem Martins
……………………………………………………………
Brazil | 2023
……………………………………………………………
Runtime/Duración 0:20:10
……………………………………………………………
“Vestido Blanco” (White dress) is an experimental docu-fiction that, through image archive of different families, travels through the history of a woman, permeated by marriage and gender issues, in a context of rural life in Brazil. Such history, however, evokes many similar.
……………………………………………………………
……………………………………………………………
3.
L’incanto | Enchantment
……………………………………………………………
Chiara Caterina
……………………………………………………………
Italy | 2021
……………………………………………………………
Runtime/Duración 0:20:00
……………………………………………………………
The voices of five women gradually fill the sound space of the film, weaving a pattern: a tarot card reader who draws cards; a woman who survived one of the most horrific cases of kidnapping, sexual violence and homicide in Italy in the 1970s; a woman who is accused of the homicide of four people; a woman who suffers from depressive disorders; and a woman who has found her way in life through religious practice.
These voices deal, in different ways, with the relationship to life through the discourse of death.
……………………………………………………………
4.
Bye Bye Now
……………………………………………………………
Louise Bourque
……………………………………………………………
Canada | 2022
……………………………………………………………
Runtime/Duración 0:08:27
……………………………………………………………
Waving hello to the filming cameraperson, the subjects through this very gesture, are also providing a future viewer with the acknowledgment of a constant good-bye to a fleeting moment.
Yet when the film is projected and the captured gesture is seen, it’s as if the subjects are saying hello again from the past.
This film is an homage to the artist’s father, the man behind the camera in these personal family archives.
Citation:
“BYE BYE NOW is cruel. A movie traumatized by time, which is the passing of time and all that inhabits it. Movies play into that, their only purpose is to reduce the living to shocked witnesses of those drowning before their eyes. Children are unknowing, not seeing or suspecting the wave overtaking them. Movie stars at least know what they’re doing and demand money for dying before the “objective” camera (certainly aging as we watch from movie to movie). “Movie shots”, what an expression. It tells you that someone understood what mischief they were up to way back at the very beginning of cinema.
Dear Louise, that’s my take on your immaculate work.”
—Ken Jacobs
……………………………………………………………
5.
Ojo-Piel
……………………………………………………………
Fanny Leiva Torres
……………………………………………………………
Chile | 2022
……………………………………………………………
Runtime/Duración 0:13:58
……………………………………………………………
“Ojo-piel” (Eye-skin) wanders through childhood memories, dreams and present thoughts. In a minimal and close space, crusts are interwoven that show us the stories of the bodies that go unnoticed in our daily surroundings.
……………………………………………………………
W E B S I T E
……………………………………………………………
……………………………………………………………
6.
La última pieza – Ensayo I | The last piece – Essay I
……………………………………………………………
Silvana Alarcón
……………………………………………………………
Peru | 2022
……………………………………………………………
Runtime/Duración 0:03:48
……………………………………………………………
Disrupt, reject, destroy, avoid: At the interrupted rhythm of the broken photographic negatives that a granddaughter has rescued from her grandfather’s hands, The last piece reconstructs the memory of an older man who has decided to leave behind his life impulses to surrender to sleep and calm. An essay on the act of joining our memories, the illusion of remembering and the freedom to forget.
……………………………………………………………
……………………………………………………………
7.
Sin título
……………………………………………………………
Ignacio Tamarit
……………………………………………………………
Argentina | 2022
……………………………………………………………
Runtime/Duración 0:02:00
……………………………………………………………
Taking on the theme of Health, this short film chooses some of the most compelling archival images from the Archivo de la Radio Televisión Argentina (RTA), with a visual and emotional impact, while adding voices and some personal footage, achieving a piece that, without exposing a message or story in a traditional way generates a strong contradictory and mobilizing feeling.
……………………………………………………………
……………………………………………………………
8.
