A love worth while

Our host Dr. Dramaminex Dante seeks to answer the question: Who knows what the devil looks like? For no one really knows.

Two men who have been friends for quite some time and who live in different cities maintain a correspondence with Super 8 film reels that they occasionally send to each other. One of these film reels shows a woman who reminds the addressee of a former girlfriend. Immediately and without paying attention to his obligations to the company, he drives the company car to the city of his childhood friend, 780 km away. There he finds out that she has been the secret lover of his Super 8 friend for years. After about three or four weeks, which they spend on the coast of another country without any significant difficulties, the lover of the childhood friend rows his boat alone across the Atlantic after an obviously frame-up rescue operation.

Filip buys an 8mm movie camera when his first child is born. Because it's the first camera in town, he's named official photographer by the local Party boss. His horizons widen when he is sent to regional film festivals with his first works but his focus on movie making also leads to domestic strife and philosophical dilemmas.

Analía and Andrés are neighbors but barely know each other. On the night of December 31, 1999, both are forced, for different reasons, to spend New Year's Eve alone.

A woman returns, after a long time, to an empty house to confront her memories.

Can love transcend boundaries, trapping us in a seemingly inescapable cycle? The fantasy of being one with each other becomes flesh and destruction. A couple stripped of everything and everyone, fused to the point of losing their sense of self, faced with the possibility of a third party interfering, she decides to have an abortion.

A skin flick

This Super 8 short film was discovered on May 22, 2024, at the Paraguayan-German Cultural Institute in Asunción. The film is the result of a workshop produced by the ICPA's film department in 1987, led by filmmaker Marie Louise Alemann, a pioneer of experimental cinema in Argentina.

EHHHH! is a Super 8 film edited in-camera and projected with a tape delay from two projectors onto a screen, which travels through the parking signs of Buenos Aires, where the letter E dialogues with a sound composition / phonetic poetry of voices saying "eh", a typical Argentine filler word

"In A MILLION IN DEBT IS NORMAL, SAYS MY GRANDFATHER, Gabriele Mathes traces the consequences of the decline of her father’s furniture factory via her family’s Super-8 footage(..)" (Viennale)

The hands of Narcisa Hirsch, a nonagenarian, open another Super 8 film cartridge to load a camera. In what seems like a ritual of passing on a legacy, the grandmother and her grandson, Tomás Rautenstrauch, watch a film of a meadow that gradually fills the frame.

A woman plays with three creatures in a mysterious world. As she breathes life into them, they feed on her life essence. What began as a game transforms into a total surrender, where each being she creates drains her elixir, leaving her with a rush of pleasure in return.

It looks like it's going to rain. Yes, no doubt about it. Let's ask the horizon... over there, behind us, where the sun sets. The sun in the city hides in the concrete. The sun in nature, like consciousness, dwells in the darkness of our complex being. There will be no perpetual peace on earth or in heaven. To sleep in peace, to rise at dawn.

As the world begins to end, two children run away from home and meet an adult who betrays them. Later, one of them remembers the future that was possible.

A journey into the bodily emotions conveyed by nature. Contemplation in dialogue with intimacy and vastness. Projected on Super 8 film with three projectors.

Suspended Memory: Fragments of a Mind on Pause is an example of how the traditions of essay film and film poem converge to explore the landscapes of memory and intimacy. Through the use of black and white and the integration of analog formats, a visually rich and emotionally resonant work is created.

A young filmmaker undertakes the task of filming and editing a movie in Super 8 millimeter format.

Film about protests, demonstrations and commemorative actions one year after the events of December 19 and 20, 2001. It documents a protest in front of the IMF headquarters, the placement of memorials to the fallen (Street Art Group, Popular Screen Printing Workshop and other collectives) and the march to Plaza de Mayo by the piquetero movements and popular assemblies.

Urban symphonies are a genre within experimental and documentary cinema: architectural recordings, everyday actions, travel diaries. This film-performance shares scenes of Los Angeles filmed in 2022. Geometric forms, human movement, glazes, reflections, the interplay of filters, and the transition from black and white to color expand the image, opening multiple windows. A pulse-pounding depiction of this great metropolis.

A visual essay in expanded cinema constructed from found footage: fragments of home movies from trips to Mar del Plata, found on the street and in flea markets, alongside a kind of remake filmed three or four decades later in the same locations. The piece reflects on the use of the format, the perspective of the first amateur cameramen who went on vacation with their cameras, and the beginnings of home video recording.