This is a selection that values the plastic exploration with image and sound, its materiality and the important discussion of video as a creative support. These conceptual premises can see developed in several experimental routes such as animation, choreography and video dance, as well as the perceptible, the abstract and the dreamlike, without forgetting the documentary, the audiovisual essay and the first-person narratives.

These Colombian creations stand out for their reflective capacity on contemporary life, allowing to give transcendence to dreams, memory, and the journey of bodies and identities, as well as to give other glimpses of everyday life. There is place to decompose reality and make room for universes full of light, shadows, color, shades of black and white or the manifestation of an inner world, sensitive and emotive, effective in its modes of representation. In short, a program of multiple perspectives on Colombian audiovisual practices.




1h. 32min. 08s.


A través de los ojos del cristal

Through The Eyes Of The Crystal


Vanessa feijoo

Look at me, we are of the same species. “Through the eyes of the glass”, is born from a critique of the current surveillance systems, however, because of what has been lived in confinement, the act of watch over or look ​through the window becomes an almost natural gesture among us. We are now our own watchers. This work is part of the medium that is my eyes, voice and soul

2020, Colombia | 7min. 8s.





Carlos Hurtado Múnera

Presence, seeks to explore what is hidden at first sight: The materiality of the face and what it represents.

2020, Colombia | 8min. 0s.


El fin de la sequía

The end of the drought


Raquel Páez, Mariana Rey

The end of the drought, explores visual and sound textures, traversing their materialities and transforming them. The path is guided by the voice that traverses matter, poetically consolidating itself along the way while playing with the notion of tension that slowly crumbles to give way to the flow of water.

2020, Colombia | 3min. 28s.


Grimoire 9


Javier Mauricio Fabregas

Grimoire 9: The Elegance of a Colombian Tie, is an animated allegory of recent events in the world, in the form of a flawed and bizarre video game.

2021, Colombia | 3min. 4s.


Migra y Totem



Alfonso Pretelt

For the caveman the stone was a triumph realized out necessity; an arcane that, depending on how one probes, revealed the desire to kill or to subdue, at the risk of life or to be subdued. Here, however, we approach the stone in another sense. The stone, the first technology, the interface, propitiates a mutation, a journey, as we have noted, towards the present man. It is known that one of the few ways in which primitive man began to use fire was by skillfully scraping two stones. It was the age of man in which music was born. An era of greater profit and better conditions was born. The journey of the stone, the vertigo of the fire of technology, ends, for the moment, with the present man: the human species traversed by the dream of biopolitical power in the midst of an era of unbridled dataism and progenitor of the world, a violent progression that is forged through the interface. From the stone to the screen, a language establishes itself, takes hold and determines. From Neanderthal to Cyborg, man executes and contemplates technological development, but also the dehumanization of his body and mind. Reminding us of Narcissus, man, a prisoner of language, imprisoned in pixels and in the contemplation of a world that produces his reflection, inhabits his new cave without realizing when he arrived there. Was Norman Mailer, in one of the interviews included in the book Pontifications (Michael Lennon), trying, to return to the man of grunts, to make us drift into a technological link with the stone? Is the cavern the great metropolis? When, speaking of time, in a verse of one of his best poems, Jorge Luis Borges says: “it is a fire that consumes me, but I am the fire”; does he call man to a hopelessness before the time of technology, as could be inferred from the whole poem, or to a labyrinthine hope? Can we be the music or fire of the stone? The man of cybernetic equipment has perhaps never moved from the cave. Language and tactility generate for him, through projections, the illusion of a reality, when he is really a body piloted by a fire that (think of Plato’s cavern fire) makes him a prisoner-consumer, and also a debtor of another cavern, this time internal; that is, it makes him a debtor of its pristine fire, of a fire that is already the fire of the equations of the universe. Can this internal cavern be shaken and awakened, illuminated in a kind of conscious hallucination that reinvents man and the cavern framework and the world, in the creation of a new language?
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De la piedra a la pantalla, un lenguaje se establece, se afianza y determina. Del Neanderthal al Cyborg, el hombre ejecuta y contempla el desarrollo tecnológico, pero también la deshumanización de su cuerpo y su mente. Recordándonos a Narciso, el hombre, preso del lenguaje, preso en los pixeles y en la contemplación de un mundo que produce su reflejo, habita su nueva caverna sin percatarse de cuándo llegó a ella. ¿Trataba Norman Mailer, en una de las entrevistas que recoge el libro Pontificaciones (Michael Lennon), con su instancia a regresar al hombre de los gruñidos, de hacernos derivar en un vínculo tecnológico con la piedra? ¿Es la caverna la gran metrópoli? Cuando, hablando del tiempo, en un verso de uno de sus mejores poemas, dice Jorge Luis Borges: “es un fuego que me consume, pero yo soy el fuego”; ¿aboca al hombre a una desesperanza ante el tiempo de la tecnología, como podría colegirse del poema completo, o a una laberíntica esperanza? ¿Podemos ser la música o fuego de la piedra? El hombre de los equipos cibernéticos quizás nunca se ha movido de la caverna. El lenguaje y la tactilidad le generan, mediante proyecciones, la ilusión de una realidad, cuando es realmente un cuerpo pilotado por un fuego que (piénsese en la hoguera de la caverna de Platón) lo vuelve un prisionero-consumidor, y también deudor de otra caverna, esta vez interna; esto es, lo vuelve deudor de su fuego prístino, de un fuego que es ya el fuego de las ecuaciones del universo. ¿Puede esta caverna interna sacudirse y despertar, iluminarse en una especie de alucinación consciente que reinvente al hombre y la caverna marco y el mundo, en la creación de un lenguaje nuevo?

1900, Colombia | 13min. 49s.


Ordig – el noveno

OrdiG – The ninth


Sebastian Avila

Experimental music video.


2020, Colombia | 4min. 11s.





A trip to the Colombian Caribbean, during 2018, is auscultated as an archive to talk about memory and dreams with a soundtrack of synthesizers. Characters: Lívia Brito – Fredo Agudelo mutanttales 2021.

2021, Colombia | 5min. 24s.


Luz negra

Black Light


Nicolás Valencia Herrera

A transit between life and death, Black Light is a progression of death, reality and the exploration of this state. The universe is posed on a wandering character who wanders from place to place as he delves deeper and deeper into his existence.

2020, Colombia | 5min. 58s.


Zona Frágil

Fragile zone


Isabel Dávila Córdoba

The sentient beings present are evidence of the construction of the pain that once passed through their bodies, of the pain that took shape from the encounter with another, of the work of that other, and how the memory of the encounter lingers in them, traces that the passage of time cannot erase. The hands, symbol of human action, are constantly present as a tool of power, as an ambivalent tool that cares or destroys.

2020, Colombia | 8min. 14s.




Juan Camilo Moreno

A story about the collapse of the first worlds of the human being -that of childhood, of first love, of memories- and the possible reconstruction of a new home based on images, dreams and fiction.


2021, Colombia | 2min. 20s.





Nelson Celis, Catalina Gómez

Forced migrations have been one of the terrible consequences of wars, and wars, unfortunate protagonists in the history of the human race.

Walkers, travelers, nomads who go from one side to the other, invading other people’s homelands, and being repudiated for their origin. This is how these travelers become invisible to our eyes. Until someone sees them, identifies them and recognizes himself in them. Understands that they are made of the same material that composes him, and that he is invaded by the same feelings.

“Invisible” narrates the encounter, the misencounter, as a tribute and an invitation to reflect on the things that, voluntarily, we prefer to remove from our sight.

2020, Colombia | 6min. 57s.


Mantra a la oscuridad

Mantra To Darkness


Jean Marc Loerbroks

What is observed always contains a distance and a closeness. A space between the imaginary and the real; the ghost lurking in the light, the intrusion of its chimerical world.

2021, Colombia | 13min. 54s.




Angelica Roa, Leo Carreño

Vitruvia seeks through choreography, the semiotic deconstruction of the Vitruvian man that transgresses the masculine figure of perfect proportions and presents, in its place, a feminine figure that fights against the perfect proportions that signify the perfect role. This short dance film presents a feminist vision of this Renaissance drawing by Leonardo da Vinci.

2020, Colombia | 6min. 37s.


Y entonces, la lluvia llegó

And then, the rain came


Karen Moya

“Like death, sleep, and like sleep, death, but without awakening. No rhythm of return, no recovery, no new day, no tomorrow.” J.L Nancy

Insomnia, fear, trembling, agony, panic, anxiety, I feel my heart in my fingers. I inhale, one, two, three, four, five, six; I hold, one, two, three, four, five, six; I exhale, one two, three, four, five six. Sounds rain in the background and frequencies 432hz. He remembers dream scenes, forgets reality.
When finally it is falling, tangible three-dimensional reality disappears, Where do we travel? What is the space like? What does the place feel like? Is it cold? Is a scene constantly repeating like torture? I write down memories of dreams as I open my eyes, memory drawing, what was the atmosphere like?


2021, Colombia | 3min. 4s.

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