1968-02-23
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An experimental portrait of Fernando Fernán Gómez, one of the most renowned Spanish artists of all time.
EMPATHY (a digital love letter) is a short essay documentary, a heartbreaking comedy about a break-up, an attempt to concretize emotion and evoke empathy from a writer’s approach. After getting her heart crushed in a relationship, a woman writes a letter to the man she loves for a simple reason—to evoke his empathy towards her. Knowing the premise of human emotions, the woman starts her letter with her own life stories, follows with a blunt confession of affection, and ends with a cursing when she can’t handle the emotions anymore.
"The prevailing stigmatization of the 'villero' universe is fed back by the images. In order to dismantle this stigmatization, other images must be presented or we need to reveal what the existing ones seek to cover up. The slum is usually represented from a limited and deceitful visual panorama. This representation has an intention. Cinema and television are two image-producing devices that strengthen the stereotypes that we have about the people who inhabit these spaces. And what happens in the field of painting? Do clichés reign there too? This visual essay seeks to confront various works by national painters and sculptors, belonging to the Palais collection, with the kinetic images of current cinema and television, to reflect on both the differences and the similarities in the meanings and discourses that both regimes of images can produce." César González
A visual essay that highlights top-down shots from Wes Anderson's filmography.
A look into the career and impact of "classical liberal" talk show host Dave Rubin
For 'Et les chiens se taisaient' Maldoror adapted a piece of theatre by the poet and politician Aimé Césaire (1913–2008), about a rebel who becomes profoundly aware of his otherness when condemned to death. His existential dialogue with his mother reverberates around the African sculptures on display at the Musée de l'Homme, a Parisian museum full of colonial plunder whose director was the Surrealist anthropologist Michel Leiris.
An atmospheric essay, which is an alternative version of Count Dracula, a film directed by Jess Franco in 1970; a ghostly narration between fiction and reality.
"Land of Dreams" - When the daughter Johanna is born in 1983, Jan Troell tells the story about his childhood Sweden and how things were when he grow-up in the land of fairy tales and potential prosperity.
The film in a metaphorical form demonstrates a model of self-devouring in a closed spiritual system, it explores intermediate state between a human and a non-human: a subhuman deprived of a divine spark.
An audiovisual investigation into the way Spanish cinema has represented its audience throughout history, and a tribute to those who, for over a hundred years, have inhabited the theaters, mutually nurturing their deepest dreams and aspirations.
In this video I share my experience as the first Resident of the Harun Farocki Institut in Berlin during the winter of 2016-2017. Produced for the Goethe Institute.
A very personal look at the history of cinema directed, written and edited by Jean-Luc Godard in his Swiss residence in Rolle for ten years (1988-98); a monumental collage, constructed from film fragments, texts and quotations, photos and paintings, music and sound, and diverse readings; a critical, beautiful and melancholic vision of cinematographic art.
With the lack of personal video archive, Youhanna (the filmmaker) creates false memories using lost home videotapes shot between the 1990s and 2000s in Europe, Africa, and Asia, with the help of an Artificial intelligence programme, until a real, personal video archive surfaces, transporting him into the past to relive one more memory with his late mother.
This film essay about mushrooms and their connections to other living things tries to use the structure of mushrooms to explain nature, science, and civilization, all the while searching for various analogies, such as the similarities between mycorrhiza and other structures.
A street in downtown Warsaw transforms into a kaleidoscopic portrait of Polish society. Behind the viewfinder is an Indian immigrant, who seeks to overcome the boundaries between himself and an anxiety-ridden country.
Angela Su’s fictional artist Rosie Leavers is the last remaining person to upload her consciousness to a video game. Contemplating during a pandemic year which also saw people’s resistance movements in many parts of the world, the work pinpoints the uncanny affinities between gaming and warfare strategies. They have mutually informed the infrastructure of both worlds since time immemorial when diplomatic conflicts played out on the battlefield of the 64 squares of a chess board to flight simulation technologies which were adapted to shape gaming experiences as we know it now. When the conflict is between the state and its people, she speculates that gaming strategies empower civilians in resistance movements to counter imperialism through its own operative logic. But once we upload our consciousness, are we able to return to the sensibilities and political motivation that inspired the revolution to begin with?
Equal parts documentary, visual essay, experimental collage narrative, and parodic homage to and of all things Barbie, this caustic and exciting visual foray embraces the complicated terrain of feminist discourse, cultural criticism, and political rhetoric, as well as insights on gender, identity, and personal experience where all roads lead back to the phenomena that is Barbie.