Roman Chariot

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.

Women, landscapes and manifestations of color meet experimentally with the possibilities of the artisanal copying technique on 16mm.

The arrieros hold the lamb's body with their hands. The knife cuts the animal's throat and blood cascades out.

This is the portrait of Cesar, the heir to a tradition of neon lights that ruled in Buenos Aires' marquees and now resists obsolescence.

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.

"With characteristic wit and rigor, experimental filmmaker Larry Gottheim here applies his impressionistic editing style to footage collected during his travels in the Dominican Republic. Gottheim’s formal emphasis on repetition and fissures between sound and image resonates here as a mode of sociological reflection (with the fragmentary montage mirroring elements of ritual while also destabilizing the ethnographic gaze). A largely overlooked antecedent to the contemporary blending of avant-garde and ethnographic filmmaking, MACHETTE GILLETTE… MAMA still poses a potent challenge to documentary convention." - Max Goldberg

Experimental projects carried out during scientific initiation - 2002 / UFRJ

Experimental projects carried out during scientific initiation - 2002 / UFRJ

Combining high definition and Super 8 footage, Lampedusa is composed of interwoven narratives based on a series of real events. In 1831, a volcanic island suddenly erupted from the sea a few kilometers off the southern coast of Sicily. An international dispute ensued, as a number of European powers laid claim to this newfound “land”. The island receded below sea level six months later, leaving only a rocky ledge under the sea…

Tell Them We Were Here is an inspirational feature-length documentary about eight artists who show us why art is vital to a healthy society and reminds us that we are stronger together.

Journalist Dermi Azevedo has never stopped fighting for human rights and now, three decades after the end of the military dictatorship in Brazil, he's witnessing the return of those same practices.

Two friends walk and draw circles. It is what it is, idizwadidiz, c’est ce que c’est, seskecé. Nice weather.

Two halves split by the perseverance of a scorpion. Come on, feet.

An eight-hour contemplative epic, entirely starring sheep.

This movie chronicles the life and times of R. Crumb. Robert Crumb is the cartoonist/artist who drew Keep On Truckin', Fritz the Cat, and played a major pioneering role in the genesis of underground comix. Through interviews with his mother, two brothers, wife, ex-wife and ex-girlfriends, as well as selections from his vast quantity of graphic art, we are treated to a darkly comic ride through one man's subconscious mind.

The last woman on Earth: Filmed inside Biosphere 2 in Arizona, Urth forms a cinematic meditation on ambitious experiments, constructed environments and visions of the future. The film considers what an endeavor such as Biosphere 2 might mean today and in the near future, in terms of humankind’s relationship with the natural world.

The reception ebbs and flows as the unfamiliar landscape whirls by the window of a plane or train or car. Communication is delayed, fragmented, interrupted. Memories of a distant country.

“Convalescing, when you don't have to participate in the world. Time to read, to dream, to look - the blue, the light of the television, the blue, the book, the patterns the light, the blue. Time to appreciate how much that really is.”

WORM AND WEB LOVE begins with bracketed light, a throbbing worm in the sand and sea foam mixed with grass and oceanic detritus, soon superimposed upon the dark blue-toned face of a man, then a woman (Michael McClure and Amy Evans McClure), each seen, then on, through superimpositions of drifting smoke and the back-lit stark grid of a spider's web. The obvious affections of the man and woman, their clear display of love, is metaphored in these tenuous superimpositions, culminating in the frantic movements of the spider itself and the dance of joy of the features of the couple in loving resolution.