Cinquenta e oito semanas(2024)

Último Desejo(pt)

Memoirs of a Strangler of Blondes(pt)

First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.

Ma bande magnétique arrière(fr)

Whilst Waiting(en)

A person spends some time in a room

Feeler(en)

16mm film by Paul Clipson, and music by Sarah Davachi. Filmed in New York, Los Angeles, Hong Kong, Brisbane, Krakow, Sidney, Portland, Napa, Oakland and San Francisco.

Platonicamente confusi(it)

Purgatorium(en)

After his death, a young man stuck in purgatory attempts to cope with the afterlife.

Phantasia(xx)

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

hands(en)

A personal reflection on hands, the word "tear," and caring for oneself that experiments with sound, silence, and definitions.

Platform(en)

Jess confronts a piece of her past on the platform…

De lo inmenso que es Sentir Neutro Gris(es)

A girl is having an existential crisis alone at her house while she meditates about her condition

After James Benning's YouTube(en)

Divided into 26 parts, an attempt to remake James Benning's film, YouTube (2011) with similar internet footage after 13 years.

AA-PROXIMA-SUN(pt)

A girl approaches a divine entity that comes to the world in the form of a yellow umbrella, and ends up discovering her true self.

De lo inmenso que es Sentir Neutro Gris(en)

A girl is having an existential crisis alone at her house white she meditates about her condition

Empire of My Melodious Mind(en)

Be. Belonging. Words on vintage flash cards shuffle past in a stream-of-consciousness that shows the mind working, assigning labels and names to things through love and language. In the space of a moment, perception embarks on an epic journey of tongues, through Cantonese and English sounds and Ektachrome memories that form the characters and identity of this American-born Asian filmmaker.

The Freedom of Herds(en)

The history and trauma of two men, brought together by war, is exposed when a mysterious visitor treads familiar ground.

Tomatoes(en)

Across the installation's multiple channels, the camera circles a group of artists as they sit together in a field eating, licking, and squeezing ripe tomatoes. Throughout the ever-changing scene, kisses, whispers, and caresses are shared with a casual, gentle intimacy that reflects interconnectivity and abundance. These queer and desirous exchanges constitute a portrait of collectivity wherein individuals come together as distinct parts of a whole.

the importance(xx)

Two screens of a graveyard, one during the day and one at night. The duality of everything that exists in the universe.

out of touch (franklinia still life)(en)

the franklinia flower, now extinct in the wild, appears here as a printed image (a drawing from 1782) pinned against a kitchen wall. hand and figure move disjointedly. the light of day gives way to electricity, to darkness, and to morning. recorded on a video camera built in 2002: an obsolete image tracing some accidental gestures and capturing a form of life existent only in cultivation. some fragments of vermeer, general electric, and chiquita brands international.

Leda + Swans(en)

“Leda + Swans” depicts an infernal, mythic birth of cinema, dredging the violence and horror from Wallace McCutcheon’s comic short film “Photographing a Female Crook” (1904). Leda, who may or may not be a falsely accused young woman, is brought in for a mugshot by two officers. She first attempts to avoid the camera’s gaze, and, when overpowered and manhandled, contorts her face to ruin the photograph. However, her small rebellion proves futile; she was already being recorded, objectified, mapped, and co-opted by the Godhead of the director. As her body and image are repurposed and transmuted ad infinitum, the filmic universe also explodes into a supernova. What is born out of this suffering and manipulation is another example of our sublime medium and modern muse. She will not be last the Leda, and she may not even be the first. Who is the guilty party here? Is beauty a chimera in traditional cinema? Has the ephemeral cinema of the attractions and distractions era gone anywhere?