On the island of Tanna, a part of Vanuatu, an archipelago in Melanesia, strange rites are enacted and time passes slowly while the inhabitants await the return of the mysterious John.
Isaac Wan
as Himself
Performance with live audio equalization.
This is the filmic portrait of Daniel Vicinos, one of the most characteristic figures of Argentina's film industry: inventor, technician, collector, ironwork lover, but above all, in love with cinema.
The biggest, most populated, and frantic city in South America. While Cariocas are like tropical birds, Paulistas are like frenetic ants. Distances are longer and they're always in a hurry. A busy journey through this beautiful Brazilian beast which cannot help but beating irregularly.
During the evening, between 15:00 and 17:00 all of Valparaíso's hills appear almost motionless.
With carpenters and fishermen on the coast of Valparaíso, Leonel Vasquez built a boat/sound installation following the almost extinct tradition of the craft wooden boats that still sail these waters. Through on-board wooden speakers, fishermen tell the stories of their livelihoods.
Los Años is a meditation about time, memory and mortality through our representation in images and our lives' rituals. This short highlights our abstract way of understanding time and collective experiences.
A somber journey on the road. A post with three lights. A crowded street. Stashed cables. The city. A grey square. The sun's reflection. The sun. Going back home.
Starting from frame by frame in-camera editing, the film translates a nursery garden from Chillán into a filmic landscape, with a rhythm and structure coming from a personal relationship with color, light and occurrences that took place near the end of the summer at the Olaxis garden. This is the first part of a work which takes reference from Violeta Parra's poetry, created from flowers, plants and certain places of the Ñuble area.
Letraset typeset intervention and editing on the projection copy of the film Cuesta Abajo, by Louis J. Gasnier, 1934.
Experimental short film playing with light and how it appears through reflections, lenses, and distortions
Ostensibly searching for an emotional connection with her aging father, the woman contemplates her own inherited culture and familial touchstones. Her North American pop culture sensibility fuses with a distorted Japanese perspective to create a surreal interpretation of a “Japan of the imagination.” This fictional landscape is peppered with invented Japanese myths, ruminations on memory loss, the temporal space of digital photography and the ghosts of inherited imagination.
The meeting point between two comunication media: A letter written in 1929 -hidden inside the adobe walls of an old country house - and the shooting of the coutryside along the highway that connects two Chilean cities un 2018.
It started with filming the tree. Something was released in that manner of filming seemingly farthest removed from the procedure of the early films. I first thought a simple ordering of this rich material might be enough, something related to BARN RUSHES [...] But the film only came into its form-life with the idea of linking this deep-rooted and far-outreaching tree material with that film on paranoia that had fascinated me for many years. –L. G.