Telegramas desde el campo de batalla

A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).

Some spaces draw attention, as if they evoke something that’s about to happen. These are the places where we escape when we dream or die. The only thing that exists is time; we wait for the moment to arrive.

Thirty-three shots based on the landscapes of the Isère region near Vienne. A work of observation on light, the dilation of Time, wind, calm and storm.

The innovative and influential British filmmaker Derek Jarman was invited to direct the Pet Shop Boys' 1989 tour. This film is a series of iconoclastic images he created for the background projections. Stunning, specially shot sequences (featuring actors, the Pet Shop Boys, and friends of Jarman) contrast with documentary montages of nature, all skillfully edited to music tracks.

You Should Have Been Here Yesterday combines hundreds of hours of lovingly restored 16mm footage with a salt-infused soundscape by Headland. This cinematic poem tells the story of a wild community who took off up the coast and discovered a whole new way to live. Going back to the never-before-seen camera reels to ask the question – what do we keep and what do we leave behind? Featuring Tim Winton, Wayne Lynch, Bob McTavish, Albe Falzon, Evelyn Rich, Maurice Cole and many more. Inspired by Moonage Daydream and Jen Peedom’s Mountain.

Two robots embark on a quest to become human.

The marks of the violence of the Chilean state, against its own compatriots. Flicker Film. 35mm B & W Still Photography. Silent.

Three images of a person running in the void through the movement of speed and abstract images

The horses in Denys Colomb Daunant’s dream poem are the white beasts of the marshlands of the Camargue in South West France. Daunant was haunted by these creatures. His obsession was first visualized when he wrote the autobiographical script for Albert Lamorisse’s award-winning 1953 film White Mane. In this short the beauty of the horses is captured with a variety of film techniques and by Jacques Lasry’s beautiful electronic score.

In the ruins of the Disibodenberg monastery, the voice of Hildegard von Bingen sneakes through the walls. As the day goes by, the space empties of people, and with the arrival of the night, a vision emerges.

A woman, an artist and dancer, sets out to reclaim her childhood memories shared with her late grandmother—a bond forged through their mutual passion for painting. Through the delicate recovery of her grandmother’s floral works, she engages in a silent dialogue with the gestures of an ancient practice. She conjures a fictional exchange, a spellbinding journey between dimensions. This intimate quest transcends disciplines, seeking intergenerational connection and answers.

Time-traveling anthropologists document the heartbreak of an aspiring entrepreneur in Los Angeles. In ir/reverent homage to mid-20th century documentary films, this fictional documentary turns a comically “objective” lens on the shadows of trauma lurking behind American masculinity.

During the COVID-19 pandemic, a trans body dreams of the birth of night.

What are they? What do they seek? When all the lights go out, they will wander. And you will never see them.

In one of those wonderful coincidences of history, lumière, the French word for “light,” was also the last name of brothers Auguste and Louis, whose brilliant invention, the cinematograph, helped to inaugurate the most beloved art form of the last 130 years. Institute Lumière director Thierry Frémaux uses Lumière, Le Cinema! to guide the viewer through over a hundred shorts—some famous, some forgotten, some never before seen—directed by Lumière and company. In the process, Frémaux illuminates how the brothers employed the camera as a creative instrument as they (and their operators) mastered framing, staging, and subject selection for quotidian and exotic microdocumentaries as well as the first ever fictional motion pictures. The result is not only a glorious re(telling) of the genesis of cinema but a profound meditation on the beautiful world captured—and the mysterious world imagined—by the Lumières.

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

Jean-Luc Godard is synonymous with cinema. With the release of Breathless in 1960, he established himself overnight as a cinematic rebel and symbol for the era's progressive and anti-war youth. Sixty-two years and 140 films later, Godard is among the most renowned artists of all time, taught in every film school yet still shrouded in mystery. One of the founders of the French New Wave, political agitator, revolutionary misanthrope, film theorist and critic, the list of his descriptors goes on and on. Godard Cinema offers an opportunity for film lovers to look back at his career and the subjects and themes that obsessed him, while paying tribute to the ineffable essence of the most revered French director of all time.

An experiment with three dimensions in a moment of clarity: the focus of the camera's lens towards the present, the speed of the train and the material world distorted by the movements of the train.

Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion

Images from 2000s music videos are transferred onto the film strip, torn and abstracted until the visuals convulse and shift—a tactile, poetic exploration of materiality, memory, and medium.