An installation with different facets: two friends in a masturbation exercise in which they both lose and the collection of images that could explain their apparent impotence.
Secção: Silvestre Focus
In the mirror, a man reveals himself, without the aesthetic armor (contact lenses, dentures) of everyday life in public.
With the potential to strike fear into the hearts of the toughest, this experimental film creates a collage of horror films to tell a story where “suspense” and “shock” are the keywords.
A cinematic portrait of filmmaker Miles McKane, by Yann Beauvais, both Light Cone founders.
The end of World War II included the harrowing public punishment of women who had relationships with German soldiers during the occupation.
Eleven minutes of confusion, in which the viewer enters a dream world where the conscious and unconscious overlap. Is it the resting woman who sinks into sleep or the film that sinks into her?
A diary over 12 years transformed into a non-objective film that reports relevant events for the author and his relationship with the artistic and literary movement Lettrism, founded by Isidore Isou.
The imminent danger of the passing train vortex. But it’s okay, it’s just an image on the screens that are the windows of this apartment.
Everything seems strange until, in a two-folded tracking shot, the beauty of the night is revealed.
The solitude in the midst of the crowd that walks in a space with no indication of its location, with no sounds. Only the fragments of dialogue captured by a self-learning program give the images a narrative.
A frenetic and personal film, marked by the randomness of the subjects, like a notebook of thoughts collected over time.
A celestial choreography that tells us about the absolute liberation of references and narrative. Against a starry sky, figures (students at the Metropolitan Opera Ballet School in New York) show us the inner universe one enters when one falls asleep.
Two little girls, vampire capes and a penchant for fun. This is how they play with the recurring and classic motifs of horror films, playing with gender identities and power dynamics.
Fragments of the artist’s face projected onto cups, exploring the English expression “I’ll be mother”, said by the person serving the tea.
Mimi Minus is filmed in the middle of the masturbatory act, while the camera moves away until her body blends with the landscape.
The vibrant colours and the texture give an idiosyncratic beauty to a film whose main character lives haunted by violent memories that are revealed as we get to know him better. ‘Pinky’ has fled a cult linked to a transcendent figure, but now he is unable to reconcile the turbulence he feels. An individual journey that intertwines with the social and political panorama of Colombia.
Gravayat mixes images from the past, from the 50s to the 70s, and contemporary images to show connections and developments in the Seine-Saint-Denis area, on the outskirts of Paris, a place of precarious housing, whose populations are always under attack.
Restrepo points his 16mm camera at a Colombian area, Choco, geographically isolated between sea and forest, on the border with Panama. Despite the adverse living conditions, it opens the way to religious missions, military operations and even tourism projects.