Traumas are sometimes impossible to reconstruct completely; our body, as a defense mechanism, erases them, leaving traces in the unconscious. Jeana guides us on a journey through childhood, in her words 'the biggest wound we all carry inside'. From a performance of her own life, she tells us about the characters that once inhabited it, among choppy and superimposed images, which repeat, move forward or backward, illustrating the complexity of memory when faced with the unnamable. Indelible trace on the way to a future in which fashion and humanity are reinvented.
Jeana Cortez
Traumas are sometimes impossible to reconstruct completely; our body, as a defense mechanism, erases them, leaving traces in the unconscious. Jeana guides us on a journey through childhood, in her words 'the biggest wound we all carry inside'. From a performance of her own life, she tells us about the characters that once inhabited it, among choppy and superimposed images, which repeat, move forward or backward, illustrating the complexity of memory when faced with the unnamable. Indelible trace on the way to a future in which fashion and humanity are reinvented.
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Fantastical, larger-than-life puppetry and rambunctiously playful choreography is framed against an Edenic backdrop of Vermont farm country in George Griffin and DeeDee Halleck’s luminous, lyrical short film, which documents the 1974 edition of the Bread and Puppet Theater’s annual Domestic Resurrection Circus, taking place soon after the company’s relocation from downtown Manhattan to the rural New England enclave where it remains headquartered to this day.
An experimental four-part short film that shows the outcomes of life through a vacation trip.
This audio-visual tone poem uses the language of filmmaking to offer a first-hand evocation of the turbulent psychological effects one can experience due to prolonged lack of sunlight.
Religious imagery in Curado I, a small neighbourhood in the northeast of Brazil.
In the Moroccan desert night dilutes forms and silence slides through sand. Dawn starts then to draw silhouettes of dunes while motionless figures punctuate landscape. From night´s abstraction, light returns its dimension to space and their volume to bodies. Stillness concentrates gaze and duration densify it. The adhan -muslim call to pray- sounds and immobility, that was condensing, begins to irradiate. And now the bodies are those which dissolves into the desert.
One day we visited Mauricio, a young man who daily experiences the metamorphosis of autism.
Cormac McCarthy has spent the last 25 years writing his novels at the mountain top retreat of the Santa Fe Institute (SFI) in New Mexico. An institute dedicated to the formal analysis of complex systems. In this documentary filmed at the library at SFI (and in the desert), Cormac in conversation with his colleague David Krakauer, reflects on isolation, mathematics, character, and the nature of the unconscious
A trans Vietnamese woman's deadname being repeated over and over again.
The Great Basin! Or: How I Learned to Stop Worrying and Love the Desert is a film, book and print project that addresses climate change, the severe drought in the Western United States, gun culture, the military’s use of the basin and range of Nevada for atomic testing, cultural stereotypes, my own personal history, and my experiences in this mostly remote area. In the 15 minute short film I am creating complex collages of my still and motion captures made in Nevada with appropriated short clips from Mutual of Omaha’s Wild Kingdom, recent weather footage, The Lone Ranger, as well as John Wayne’s and other historic films, cartoons, and many other cultural artifacts, in order to speak to the place and its significance.
A fragment of reality about a less affected part of the third world, and how it got to the moon.
"Regina José Galindo’s Tierra (2013) explores connections between the exploitation of labor, resources, and human life in Guatemala. Presented at a larger-than-life scale, Galindo stands naked on a parcel of land that is excavated by an encroaching bulldozer. Conjuring imagery of machine-dug mass graves, the work draws attention to the massacre of hundreds of thousands of Indigenous people, mostly Maya Ixil, during the Guatemalan Civil War (1960–96). As the excavator digs around her, the artist stands fixed and unrelenting." - MoMA PS1
Inside a computer a space-time is revealed in which image and sound become numbers and motion manifests as rhythm, flow and chaos. This tracking and integration experiment removes the superficial identity of video to detect kinetic disturbances in everyday environment.
A collection of images taken on 35mm film with a point-and-click Holga135BC during the year after I dropped out of school.
A short, three minute documentary exploring audio recordings from the year 1894 to 1922, layered over home-footage from the year 1920 to 1985, as an indulgent social-commentary on our collective human experience as well as a testament to the everlasting nature of art.
Innocent nature walk leads to a discovery of the morbid nature of humans.