De las personas que sienten demasiado

An enigmatic glimpse of life through precarious vignettes, propelling a narrative through a nebulous and opaque structure that sutures the filmmaker's home movie footage to archival material—from Hollywood narrative films to political selfie videos. A handmade impression of a time suspended between past and present and the ghosts and places occupying it, contemplating the nature and meaning of vision, memory and image making.

At the center are takes which do not change - a tree in a field in Vermont, U.S.A. Since the film was shot over a period of fifty days, the single frame shots create a storm of pictures.

A frenetic Santiago gives me space to reflect on depression, loneliness and home in an attempt to piece together my past. Pandemic revelations and crises of youth appear as fragments. The liveliness I find in the crowd connects me with its movement.

Viet Flakes was composed from an obsessive collection of Vietnam atrocity images, compiled over five years, from foreign magazines and newspapers. Schneemann uses the 8mm camera to “travel” within the photographs, producing a volatile animation.

A short experimental video collage that combines original synthesizer music with a fast-paced montage of personal footage from the filmmaker’s life. It spans his childhood and teenage years in Ukraine, through his displacement as a refugee, and into his current life in the U.S. The piece is a reflection on the feeling of disconnection from one’s past, the abrupt loss of people and places, the loneliness that follows, and what it means to look back at a life that feels like it belonged to someone else.

When her home is invaded by a mysterious fog, a young woman must journey into her own mind in order to stop it from enveloping everything around her.

GRIS

As a young woman walks home alone one night, a chance encounter with a missing dog incites the reclamation of her body and self — as she learns to bite as tough as her bark.

Hoping to find a sense of connection to her late mother, Gorgeous takes a trip with her friends to visit her aunt's ancestral house in the countryside. The girls soon discover that there is more to the old house than meets the eye.

On February 6, 2023, an earthquake on the border of Turkey and Syria claims more than 55,000 lives. On this day, I am in an oncology center, 6 days since having my tumor removed, and in the afternoon my partner ends our relationships. Blending memory and theory, this autofiction documentary unfolds the relationships between love(s) and catastrophes.

An experimental film created from 3 years worth of abstract pencil drawings with the goal of being a catalyst for unveiling a new mental landscape in viewers.

A short by Steven Soderbergh described as “intense sci-fi homage to Godard.”

A conversation between reality and consciousness.

In the heart of the Caribbean, a mother and daughter confront a malevolent curse erasing identities of all the island's women, propelling them on a daring quest to reclaim their rich cultural heritage and triumph over the encroaching darkness.

With some amount of irony, filmmaker Joe Biglin strings together 7 shorts about himself and things that trigger his OCD.

The first embodiment of (a) concept of structural activity in cinema comes in Kren's Bäume im Herbst, where the camera as a subjective observer is constrained within a systematic or structural procedure, incidentally the precursors of the most structuralist aspect of Michael Snow's later work. In this film, perception of material relationships in the world is seen to be no more than a product of the structural activity in the work. Art forms experience.

"The Pig and the Society," symbolizes the stark contrast between the excesses of wealth and the plight of those left behind. It invites viewers to reflect on their perceptions and prejudices, challenging them to see beyond the surface and understand the systemic issues perpetuating homelessness.

An experimental short film exploring themes of depression and existentialism through various empty spaces and poetic narration by a young French-speaking woman.

Moving Matter is the culmination of a material-led process with artists from dance, costume design and film that began with a study of old kitchen flooring about to be discarded. This flax-based material enters our orbit in the 1950s, where a measured homelife and prescribed domesticity offered a reassuring antidote to bomb scares, political turmoil, and paranormativity. Stability topples as the flooring becomes entangled in the lives of those who don the material as garments and shelters. This film was made through Moving Matter, a long-term research-creation project that offers a methodology for rethinking the dynamism between raw materials, garments, and the body. Moving Matter steers the locus of choreography and wearable design away from human hierarchy to instead support truer collaboration amongst all moving materials, both human and non-human, in this case… linoleum.

Unconventional portrayal of mining in the Swedish Lapland ore fields, a powerful image and sound symphony that can be experienced both as a documentary and symbolic work.