Screens are the battleground of a symbolic conflict that dates back to the beginnings of modernity. Every image that appears in them (big and small) has the potential to change the world, for better or for worse. With its multiplication, with the ubiquity of the audiovisual and with the exponential growth of the capitals associated with this industry, our society requires pieces that dispute the hegemonic, normative and industrial discourse. Today, cinema and audiovisual art become “experimental tactics of war” for activists committed to their aesthetic and political context across the planet.

We have then divided the exhibition into three concentric moments related to the place from which the discourse is produced and its area of ​​influence: “HERE”, for projects that are concerned with micro-politics, “THERE” for those who dare to look at the Regional political junctures and “BEYOND” for those who analyze global problems.

The powerful manifest images – at the local, regional and global levels – that are part of this selection, seek to be facilitating agents of important and urgent struggles and social and political changes in contemporary society.


2nd PART



1h. 23min. 27s.




Stephany Piedrahita

“Leaborte is a self-portrait of the 8A record of 2018, where the word/image is immortalized by bringing abortion out of a past based on the culture of concealment and death.
8A: Senate debate on the approval of the bill for legal, safe and free abortion in Argentina.”

2019, Colombia – Argentina | 11min. 45s.





Juan Felipe Moreno Betancur

A brief metaphorical account of one of the different types of violence to which the Colombian people have been subjected for decades. Paramilitaryism, which is driven by the state and private companies, takes the lives of thousands of people for economic and ideological interests.

Direct animation with charcoal in the book.

2020, Colombia | 0min. 14s.


Cubrimiento Especial

Special Coverage


Los Ex – Colectivo

“Special Coverage” makes a review of the audiovisual language of the most watched news in Colombia. The video puts in evidence characteristics that are codified in the production and imperceptible with the naturalization of this language.

The high and meticulous care with which this televisual production covers up its production methods, jumps to the light with inadvertent events like the errors of the teleprompter. The play picks up on these carelessness and repairs, in a ironic way, the high level of control over this device.

In dialogue with the above, the second section of the video gives an account of the opaque, blurred and diffuse quality of the language of the newsreels, making their presumption of clarity paradoxical. This alleged veracity is diluted in suggestive and hypothetical images where substitutability removes all singularity, making them insignificant pixels uniformed in a green chroma.

2019, Colombia | 6min. 5s.


La Llorona

The Llorona


Adriana Ronquillo

“La Llorona- To be a woman” is an animation that is born as a symbol to incite reflexion, sensitize and communicate the problem of feminicides. This hybrid piece, experiments with new expressive resources to evidence with beauty and dignity the struggle that the families of the dissapeared have to face in Mexico.
The shortfilm is a collaboration between the Mexican artist Adriana Ronquillo/La Furia Estudios and the musical Dutch band “SnowApple”

2019, México | 4min. 38s.


No somos los mismos

We are not all the same


Colectivo Errata

A nation is not built solely from discourses imposed by those who historically have the power. In the case of Colombia, in the 20th and 21st centuries, identity has been built since a questionable unity and a biased perception of diversity. With the dialogue of discourses, advertisements, peripheral testimonies and academic texts, this piece seeks to problematize and generate reflection on identity and nation building.
We propose an image that experiments with drawing from line and stain, that moves between figuration and abstraction (between the organic and the artificial; between the literal and the poetic).
We make use of sound archive material such as: presidential speeches, national and commercial media of the time; as well as academic texts, magazine articles, testimonies from peripheral populations that go deeper into the sign in order to interpellate the nation’s speeches.

2019, Colombia | 15min. 45s.





Misja Pekel

Maelstrom is a poetic found footage documentary about a paradise lost. The film is composed out of hundreds Syrian amateur videos from mobile phones. The film is inspired by the true story of a young refugee who, in search of a new home, tried to swim from Calais to England. During this fatal journey, memories of his past life haunt the swimmer’s mind. Slowly it becomes apparent that the final destination is not England, but the paradise of a lost past. The film has been shortlisted by the Dutch Directors Guild as one of the best short Dutch documentaries of 2018. And received a second place at the Prix Europa for best European television documentary of 2019.

2018, Netherlands | 45min.