The computer turns on to reveal a green hill behind which memories of a virtualized childhood in the 2000s pile up. The cyber-café aesthetic recalls the days of a primitive Internet where - like today - turning on a virus was the order of the day.
The year is 2016. A right-wing political coup topples the first elected woman president in Brazil. In this dystopian political context, Marcela uses her cell phone's teleportation service to leave the country. But when she runs out of credit, she ends up lost among the antennas and the television of the 90s.
As José Luis Marzo would say: "every mist breathes a chilling beauty". Las Fauces is a sensory exploration of violence in an enigmatic territory charged with tension and mysticism. The mist blurs the boundaries between reality and fantasy, enveloping the protagonist in a luminous way in a suspended universe that struggles between chaos and an apparent harmony.
Bogotá at dawn, the fog disperses the light of the street lighting, everyone sleeps and someone wants to start dreaming without forgetting that he is sleeping, the voice meets others who share the same desire, a portal of luminous clashes opens.
A still life out of the ordinary, a still life that keeps the imagination alive. Animation gives life to the parts of a painting, generating new compositions that at the same time form a narrative transit.
Entelechy is the Aristotelian term used to indicate the inner purpose inherent in every being or reality, a kind of state of perfection of a thing that has reached the purpose for which it was intended.
Homo makes visible the experience of intimacy of a human being who inhabits an interior space, private and reserved for the solitude of a single inhabitant. The room, as a metaphor for the primordial house, is the image of lost intimacies.
A young woman wanders around Bogotá and inadvertently falls asleep on the shoulder of a man on a bus. A black and white portrait of the capital in whose streets and nooks and crannies levitates a bourgeois youth as cold as its asphalt and as tender as a lemonade stand.
Todo es Culpa de la Sal is a sympathetic and questioning look at the excesses, absences and responsibilities of the members of a family of lazy bears that, with sweet humor, focuses on each member, but especially on the archetype of the caregiver, the mother, and her way of preserving the family union. The eldest daughter will be in charge of reconstructing the family memories.
This hypnotic succession of overlapping images opens to think relations between these (and other) pandemic times and worlds-more-than-human. Above all, to affect ... is an invitation to worldliness, that is, to feel the intensities of life present in things and spaces.
Are there places that are more imaginable than others? Tripoli is presented, from Google Earth, as an emptied, abandoned, destroyed city. A city that has not yet been photographed by the platform. On the other hand, the small island of Lampedusa comes to life with its photographs of swimsuits, tourists or children on bicycles.
Inside an old apartment in Madrid, Lucia and Valeria draw three Tarot cards that reveal the first two courses of a menu. Without leaving the apartment, the two friends travel from Embún, Spain, to Llanquihue, Chile. These are the towns of their grandmothers, the only ones who know the recipes revealed by the cards.
In an editing room, in front of a timeline, the director explains how the editing of this film essay that explores resistance through artistic, cultural and social creation in Medellin (Colombia), a city delimited by invisible lines, should look like.
The world's first horror movie for and by machines. An emerging network organism scans and breathes on the world for the first time through millions of virally abused CCTV cameras. Zoom. Enhance. Identify. Fear. Nothing makes sense.
The author, or more specifically his voice, reveals to us that he has died in more or less unknown circumstances, and with difficulty tries to remember his death. In his monologue he confronts us with statements that question our mortality, vitality and sanity in a spiritual dystopia.
A sensory journey into the void and the multiple powers of its images of posthuman bodies in motion. Where the video transforms and turns around for personal encounters with the viewer, slowly inserting itself through their pores and retinas to unleash an astral and cybernetic journey.
Five stylish young men walk erratically sniffing black plastic bags, a group of carabinieri cheerfully sing "Happy Birthday", several sex workers approach to receive a small market, the thief runs across them with great skill and everyone joins in a chorus: "catch him, catch him!
The logline of Tunable Mimoid is: "Scientists discover the unique ability of an extraterrestrial organism to regenerate after being exposed to harmful radiation waves". This work is a brilliant exercise that explores the creation of fictional narrative universes in the scientific context and the narratives inherent in this environment.
Today in Colombia the last peace agreement is falling apart and violence is taking over the country. Two films shot in 1984, lost in the same box for more than thirty years, come to light together. The film drags you between fiction and documentary, into a country divided into town and country, condemned by a dark omen of repetition.
A block, a sequence shot and an attentive portrait of the daily life of a Cuban street. Atmósferas is a documentary exercise where the author invites us to contemplate the daily life of an intergenerational and diverse encounter.
"The Blue Dot" interweaves computational and ecological cosmologies between water and the Internet. The film connects the history of the Internet Archive in San Francisco, with the Library of Alexandria, space exploration, and digital infrastructure to propose reflections on the relationship between digital technology, archival history, and the cycles of the biosphere.
Fu is the god of sleep in the Muísca cosmogony, who was worshipped on the large island of the "Fúquene" lagoon, which means "the bed of the god Fu". This body of water located 116 kilometers from Bogotá tends to disappear.
A black and white docufiction in which photo by photo we go through the thoughts of Daniél Nicolas, born in France, son of Chilean exiles who later returns to Chile and is invaded by a feeling of rootlessness.