One path one collection | Agueda Lozano(2022)

Amanda Lear: Call Me Mademoiselle(en)

In the 70s, Amanda Lear was a disco queen, pop icon, model and world star. She enchanted Paco Rabanne, Andy Warhol, Bryan Ferry and David Bowie. She lived with Salvador Dalí and went out with Brian Jones of the Rolling Stones. A born performer, with legendary mystique and charm, she kept her true self hidden behind numerous faces. From Bowie to Berlusconi, from London to Paris: the story of Amanda Lear is also a story of the second half of the 20th century.

Beatriz González, why are you crying?(es)

What happened to painter Beatriz González, who made us laugh with the irony of her works, to get to the point of making a self-portrait that shows her crying naked? The path of the artist is intimately linked with the history of Colombia during the past fifty years.

Sochár Peter Lehocký(sk)

Meth Storm(en)

As police and DEA agents battle sophisticated cartels, rural, economically-disadvantaged users and dealers–whose addiction to ICE and lack of job opportunities have landed them in an endless cycle of poverty and incarceration–are caught in the middle.

Les plus grands peintres du monde : Joan Miró(fr)

American Ocelot(en)

American Ocelot tells the story of one of the most endangered and beautiful wild cats in the United States — a species so elusive that high-quality images and video have never been captured until now. With fewer than 100 individuals remaining in the US, the ocelot is critically endangered, genetically isolated, and only exists in Texas.

Frida Kahlo & Tina Modotti(en)

An unconventional portrait of painter Frida Kahlo and photographer Tina Modotti. Simple in style but complex in its analysis, it explores the divergent themes and styles of two contemporary and radical women artists working in the upheaval of the aftermath of the Mexican Revolution.

Thomas Hart Benton(en)

Thomas Hart Benton's paintings were energetic and uncompromising. Today his works are in museums, but Benton hung them in saloons for ordinary people to appreciate.

Circus(et)

We all carry hell with us. The filmmaker’s hell exists on a canvas, which he studied carefully in childhood. The mystical picture has many names: Circus, Hell, Game at the Arena. Decades later he finds the painting again. The film unravels as loose ponderings about the plight of being an artist and touches upon the filmmaker’s personal demons. Can he see the painting in a new light?

Viacrucis Migrante(es)

The Macondian Hollywood(es)

Functions without theaters, murals without walls, clothes without fabrics and students without schools says the necessary about the state abandonment and but also talent and creativity of Colombians, which it has nothing to lose. The documentary tells the story of the beginnings and resilience of several artist from Barranquilla in different disciplines in continuing to maintain and diversify the living culture, that remain to exist.

Songs of Injustice: Heavy Metal Music in Latin America(es)

In this documentary film a team of researchers examine the social contexts that influenced the emergence and permanence of heavy metal music in Chile, Argentina, Mexico and Peru. Colonialism, dictatorships, terrorism and neoliberal exploitation serve as points of reference for how heavy metal in the region has been directly linked to each country's social and political context.

China's Van Goghs(zh)

An intimate portrait of a peasant-turned oil painter transitioning from making copies of iconic Western paintings to creating his own authentic works of art.

Disgraced Monuments(en)

Filmmakers Laura Mulvey and Mark Lewis use rare archival footage and interviews with artists, art historians, and museum directors to examine the fate of Soviet-era monuments during successive political regimes, from the Russian Revolution through the collapse of communism. Mulvey and Lewis highlight both the social relevance of these relics and the cyclical nature of history. Broadcast on Channel Four as part of the 'Global Image' series (1992-1994).

Mexican Police on Parade(en)

This Traveltalk series short showcases the Mexico City police department's various units as they participate in a yearly festival. Included are a marching band, a parade of patrol cars, the motorcycle unit, equestrian unit, and the department's pistol team.

Leonardo da Vinci and the Bust of Flora(de)

Acquired in July 1909 by art collector Wilhelm von Bode (1845-1929), director general of the Prussian Art Collections and founding director of the Kaiser-Friedrich-Museum, now the Bode-Museum, the Bust of Flora, Roman goddess of flowers, has been the subject of controversy for more than a century.

Isabel & Roy(en)

Prior to his Pop-art fame in New York, Roy Lichtenstein struggled to find work and raised a family in Cleveland. His wife Isabel helped support him as he developed his signature style. But, before he could establish his career, she had to give up hers.

Visite à Oscar Dominguez(en)

This is the legendary meeting between a young filmmaker and one of the masters of surrealism: the spanish painter Óscar Domínguez, born in La Laguna, Tenerife, in 1906, died in Paris in 1957. In the "Visite," the artist -admirer of Picasso, rebellious disciple of Breton- is presented in solitude, far from the tumult of the exhibitions and parisian circles. An austere approach, almost “povera”, with no audio, nor flashy camera movements, but rarely attractive. Why Resnais could not finish his movie? Hope one of our experts help us to solve the mystery.

Land of Orizaba(en)

This Traveltalk series short chronicles the sights and sounds on a train ride from Veracruz to Mexico City.

The Meeting of President Taft and President Díaz at El Paso, Texas(es)

The first meeting of a U.S. president and a Mexican president took place when William Howard Taft met Porfirio Díaz on 16 October 1909, in El Paso. The meeting was celebrated in both El Paso and Juárez with parades, elaborate receptions, lavish gifts and large crowds. Shot by the pioneers of Mexican Cinema the brothers Alva. This is a typical example of newsreel material prior to the Mexican revolution. By hemerographical references we know that this footage was presented to the then president of Mexico General Porfirio Díaz in the Castle of Chapultepec, then residence of the president.