SHORT FILMS
Program 2
WORLD HIGHLIGHTS
This screening allows to recognize the creative scopes of virtual reality in contrast to other artistic practices aimed at work with the negative, the archive image or the strictly figurative. Together, these works dialogue around the technological and plastic becoming in contemporary audiovisual production and their impact on the viewer.
Curator, Programmer:
Juan Camilo Álvarez
9 SHORT FILMS
1:36:49
RUNTIME
We have classified some of the films with the following tags:
DEBUT | OPERA PRIMA
ACADEMIC WORK | TRABAJO ACADÉMICO
WORLD PREMIERE | ESTRENO MUNDIAL
1.
Anima # 1
……………………………………………………………
Vasco Diogo
……………………………………………………………
Portugal | 2022
……………………………………………………………
Runtime/Duración 0:03:13
……………………………………………………………
This experimental and abstract animation reflects upon the invasion of Ukraine by Russia, following the structure of an hip-hop song and mixing plenty of digital hand-painted techniques.
The style alternates between continuity and frame collision.
……………………………………………………………
W E B S I T E
……………………………………………………………
……………………………………………………………
2.
Ħ❦Ш †⚈ ₡ђ@ηğe̟ ⶖ☻ЏƦ スクリーンセーバー
……………………………………………………………
Sebastián Sagot
……………………………………………………………
Costa Rica | 2021
……………………………………………………………
Runtime/Duración 0:07:07
……………………………………………………………
When you look into the screen, it is possible to believe that the images that are projected on it come from within us, the images captivate, but even so, they cause us bewilderment. For a moment it may seem that everything is intertwined, but then disorder arises again, the digital is shown to us as a labyrinth, created in our shape and likeness.
……………………………………………………………
……………………………………………………………
3.
Visão do Paraíso | Vision of Paradise
……………………………………………………………
Leonardo Pirondi
……………………………………………………………
Brazil | 2022
……………………………………………………………
Runtime/Duración 0:16:00
……………………………………………………………
(16mm > 35mm, 16 minutes, sound, color, Brazil, USA, UK)
The great voyages to the “New World” were seen as expanding the frontiers of the visible and displacing those of the invisible, therefore, maps from that time render the real and imaginary. The film follows a voyage of the Brazilian Military in search of an imaginary island with the same name as their country. The myth from 1483 Brazil, or Hy-Brazil, is known to exist to the west of Ireland and above the Fortunate Islands. Vision of Paradise is an examination of the capacity of the human imagination and computer simulations to construct environments. Amidst the fine threshold of the real, simulated, and imagined, the film analyzes the contemporary ideas of virtual reality and their ambition to expand the frontiers of the physical world into a “New World”.
Screening Formats: 35mm, DCP, ProRes
……………………………………………………………
W E B S I T E
……………………………………………………………
4.
Sad Machines | Las Máquinas Tristes
……………………………………………………………
Paola Michaels
……………………………………………………………
Argentina | 2021
……………………………………………………………
Runtime/Duración 0:09:46
……………………………………………………………
Different types of robots and machines having existentialist conversations and complaining. They question what they are and what they are doing. They question whether they belong in the environment they inhabit. They question their decisions, their skills. They speak about destiny and chance. The ontology of machines. The machines are sad.
……………………………………………………………
5.
Existo Minima
……………………………………………………………
Oleksandr Isaienko
……………………………………………………………
Ukraine | 2020
……………………………………………………………
Runtime/Duración 0:16:16
……………………………………………………………
Existo minima is a shore line, where the brief presence is an analysis of personal history. Here, on the borderline between statics and dynamics, within the frame of someone’s own ‘drama’, one phase of crisis evolves into the next one. It unfolds from the teenager’s feeling of adulthood, to the middle-age crisis, where the meaningfulness is totally devalvated.
……………………………………………………………
……………………………………………………………
6.
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
……………………………………………………………
7.
Questions for Memories | Preguntas a la memoria
……………………………………………………………
Anderson Matthew
……………………………………………………………
United States | 2023
……………………………………………………………
Runtime/Duración 0:12:36
……………………………………………………………
Four friends reflect on a road trip through Mexico, sifting through fragments of super 8mm, evoking questions of home, family and textures of memory itself.
……………………………………………………………
W E B S I T E
……………………………………………………………
……………………………………………………………
6.
Another beautiful dream
……………………………………………………………
Clare Chun-yu Liu
……………………………………………………………
United Kingdom | 2022
……………………………………………………………
Runtime/Duración 0:14:00
……………………………………………………………
‘Another beautiful dream’ is a postcolonial response to chinoiserie, questioning the representation of Chineseness in the visual style. Filmed in-situ, this work revisits the Chinese wallpaper from the 18th century at Harewood House, an English stately home. Integral to the culture of taste, exotic artefacts such as Chinese wallpaper then furnished houses of the landed gentry and enabled them to closely experiment with the foreign. And so, through exploring the other and thus establishing the self, modern British identity took shape in the heyday of maritime commerce.
Across the film, there are four monologues by ‘Chinese’ Chippendale – the designer sourcing and hanging the wallpaper, Chinese Emperor Chien-lung, the artist herself and Ang, the artist’s childhood neighbour in Taipei with Chinese Ching royal, Manchurian and Taiwanese background. The four characters critique the Chinese wallpaper in relation to self and other from their perspectives informed by their lived experience.
The artistic strategy of juxtaposing chinoiserie with the artist’s personal and familial photography serves to further explore self and other. As the wallpaper was made in China for export purpose, self-representation is at stake. The use of personal photos questions how one represents oneself in the present and how that negotiates self-representation from the past.
……………………………………………………………
W E B S I T E
……………………………………………………………
……………………………………………………………
5.
