The bodies that claim the right to represent themselves use the image as a means to manifest the existence of diverse identities. This selection approaches the body as a fluid territory / landscape and navigates the skins that have served as containers for the emotions generated by violence, confinement and power. The images that we propose here reflect on decolonized genres, opening the way to liberating feminine proposals. They also go through the collective bodies that face repression and talk about intimacy, affectivity, imagination and sexuality.

These short films are divided into two functions of approximately one hour and each of them has three moments related to the expressive axes that the authors address about the body, “diversity”: an approach to race and non-binary identity, “deconstructions”: reflection processes, individual and collective, about patriarchy in the female body, “nature”: poetic essays that explore the limits between life and death.

These artworks provide, from the cinematographic experimentation, a place of expression for the micropolitics of the body and bet on the voices that have been minimized, contributing to the dialogue on biopolitics and corporality as a vehicle of being in the world.

Andrea Rodríguez



59min. 14s.


Petal Push


Christiana Laine

Three characters awake into unfamiliar dreamscapes where they find themselves compelled to run. As they run, they find that they are running through and amidst one-anothers’ dreams and experiences. Through music, poetry, and a series of artistic vignettes, the interconnectedness of all beings is explored. It gives reverence to all that the earth and togetherness can teach us.

 2019, United States | 7min. 35s.


Me dueles

It Hurts


Antonella Bertocchi

Through a reflection in off and images constructed from nine anonymous testimonies, IT HURTS; discuss about objects, everyday spaces and memories that function as footprints for women who have had difficulty to define a violent sexual encounter with their partner as rape.

 2020, Perú | 8min. 58s.


Girls Grow Up Drawing Horses


Joanie Wind

Society’s capitalist and consumerist views of women amount to little more than their views of horses. Their value is found not in their humanity, but in their appearance and their labor, and how each may be exploited. In Girls Grow Up Drawing Horses, these relationships and parallels occur to the narrator as she considers her grandma’s life as well as her own. Layers of animated colors, textures, and found footage explore these observations, the idea of healing family trauma, and the metaphorical significance of horses and women’s gender roles.

 2019, United States | 7min. 23s.


En boca de todas

On Everyone’s Lips


Ana Inés Flores, Milena Lois, Rocío Dalmau, Gabriela Fernandez, Daniela Fiore, Irene Blei, Ileana Gomez Gavinoser, Miriana Bazan, Belén Tagliabue, Agostina Ravazzola, Carla Gratti, Paola Bellato, Isabel Estruch, Sofia Ugarte, Laura Norma Martínez, Berenice Gáldiz Carlstein, Isabel Macias, Marina Lisasuain, Angeles Sena, Gabriela Clar, Raquel de Simone, Ana Martín

Collective work done simultaneously by twenty-five women animators using the “exquisite corpse” method, expressing each one’s emotions freely, using differet techniques, materials and motivations. Filmmakers chose the possible interaction between “mouth” and “communication” concepts as a starting point, developing a wide diversity of ideas or points of view while completing each animated segment. Media used: drawing, painting, digital 2D, stop motion, clay, pixillation, cut outs, fabric.

2018, Argentina | 4min. 28s.


Venus en Acuario II: ANA

Venus in Aquarius II: ANA


David Silva

Ana dances in her erotic universe, in spaces that manifest themselves from her own memories and sensations. This short film is based on the intimate experience of a woman whose sexuality is disputed between the pleasure and the anguish she experiences due to the impossibility of having an orgasm. Ana is movement, sound, matter and space. Her body goes through different states that represent the cyclic stages of a process of contact, sexual arousal and failure at the peak of pleasure. Ana seeks in her privacy a way of feeling herself, of establishing a relationship with her body, her past and her desires.

2018, Colombia | 7min. 27s.


Juana Llancalahuen y las Falsas Orcas – Tiempos 1 al 4

Juana Llancalahuen et les Falsas Orcas – Temps 1 à 4


 Magali Dougoud

Juana Llancalahuen and the False Killer Whales – Time 1 to 4 is a filmic narrative constructed from collected and re-arranged stories. It develops a collective and interspecies emancipatory feminine imaginary. In this new narrative, water and liquidity are modes of connection between human and non-human bodies and the ocean. The story, divided into four Periods, takes place in Fire Land (Chile). Hundreds of False Killer Whales are stranded there to protest against Juana Llancalahuen’s feminicide, who died under the blows of her husband. This woman is the first to have been buried in the cemetery bordering the Magellan Strait. Violence is at the heart of the video. The one directed against women and intrinsic to society. And the one that lies behind the historical stories, as long as they are written by and for the privileged.

2019, Switzerland | 23min. 23s.