Sincerity V

Corpus II Home presents a fatalist visualisation of the psychological effects of the world coming to a standstill. The mind becomes hyper aware of itself, every thought, every movement is methodically registered and evaluated, creating a suffocating environment that will have brutal consequences.

Film by Kenji Onishi. With friends. Mr. Yamase as main character, Sasakubo and Shinojima. And the girls having a good time. The camera is all you need. Looking still at the Mt. Buko which is disappearing.

In the mountains of Córdoba hides a historical scar. In 1575, hundreds of Hênia-Kâmîare women, children and elders jumped off in order to avoid slavery. A free, poetic view at the very place where the largest mass suicide in the history of the territory known today as Argentina took place. The film is a phantasmagoric trip within this geographical extension, taking it as a vast, green cemetery.

This abstract video art piece was made for the purposes of being a backdrop to a semi-improvisational three person dance piece and live spoken word monologue in collaboration with other artists of various fields. Blurring the line between tradition and creating something new- this work looks at the evolution of artistic practice. Hazy visuals enter the process of creative ideas with such art forms as dancing, drawing, and photography. At an audio standpoint, the score goes through a similar creation by being a recording of a guitar pluck being altered into an atmospheric synth and overlaid with field recordings of art making. The piece takes into account the various ideas and thoughts that go into artistry, and lead the viewer from the traditional aspects of preparation and through to the breaking of tradition to create something unique and personal to the artist.

Experimental short film based on M.C. Escher's paintings.

Portrait of Costa da Morte (coast region in Galicia, Spain) from an ethnographic and landscape level, exploring also the collective imagination associated with the area. A region marked by strong oceanic feeling dominated by the historical conception of world's end and with tragic shipwrecks. Fragmentary film that approaches to the anthropological from its protagonists: sailors, shellfish, loggers, farmers ... A selection of characters representative of the traditional work carried out in the countryside in the region, allowing us to reflect on the influence of the environment on people.

Kinkón (1971), a silent adaptation of Merian C. Cooper and Ernest B. Schoedsack’s 1933 classic, King Kong. Zulueta re-filmed a television broadcast of the original, and through creative subtraction and manipulation of camera speed, condensed the original’s feature length to an intensified seven minutes. The cathode-ray flicker and flattening that results from the re-filming defamiliarises the original, but its classical continuity mode of address continues to operate on the viewer, and the increase in velocity makes mesmerisingly urgent the dramatic plot of the original. —Senses of Cinema

Filmed before his feature-length Arrebato, Zulueta’s Frank Stein is a personal reading of horror cult classic Frankenstein (1931), filmed directly from its television broadcast and reducing Whale’s original to only three packed and dizzying minutes, during which the film's sensitive monster evolves at an unusual rate.

A woman returning home after having a sour day decides to sleep.

The first experimental dance film from Croatia, which pays homage to the pioneer of experimental and dance film Maya Deren and her "Study in Choreography for Camera" from 1945. The theme of the film is inspired by a composition by Ivo Malec "Miniatures for Lewis Carroll", and the dance is performed by the members of the Studio for Contemporary Dance who, in black suits and white surroundings, seem to float in the space captured by the eye of the camera.

As years and years go by, a tiny civilization makes its way upwards.

A slow-burning prairie grotesque. On the grounds of a rural sanitarium, three young women search for wellness, as a cult leader seeks to control their bodies through labor and daily rituals.

Bass takes over the upstairs Kanter-McCormick Gallery at the Art Center, expanding the territory of her gothic world in a new work The Latest Sun is Sinking Fast, an immersive, multi-channel installation incorporating 16mm film/video, sound, architecture, and featuring performances by Sarah Stambaugh, Bryan Saner, and Matthew Goulish. The solo exhibition features a spatial narrative installation that delves, through movement, texture, sound, and gesture, into the psychology of a recurring figure in Bass' previous films; while also introducing two new characters, blending the past into the present. Bass has designed the installation by altering the gallery, leading the viewer through a evocative memory of place, embedding us in a timeless society of lost souls in a haunted landscape. -Allison Peters Quinn, Exhibition Director, Hyde Park Art Center

Mars, 2035. The daily wearout overtires the space’s station crew. The anger of one of the members arises, there is no other choice but to conceal it, in order to preserve the apparently cohesiveness of the team.

"How much do you know about this place ? You need to be ready to leave your mirror shape behind and become a dark crystal. There's nothing like the rush of having a new body"

December 31, 2015. The Valencian bookstore Valdeska closed its doors permanently after forty years of activity. The result of four years of monitoring and filming, these 31 minuts of run time are part of a book unread, unknown and undiscovered. "Me voy. Me voy" it's not the story of a bookstore, not the portrait of an exceptional bookseller, it's a will to attach the things in the filmed image, to make something lasting showing the moment of its disappearence.

Five years in the making, Lawrence Jordan's feature-length "alchemical autobiography" Sophie's Place takes as its inspiration the story of the Greek goddess of wisdom, Sophia. Writes Jordan, "I must emphasize that I do not know the exact significance of any of the symbols in the film any more than I know the meaning of my dreams... I hope that the symbols and the episodes set off poetic associations in the viewer. I mean them to be entirely open to the viewer's own interpretation."

A film poem - without words

DEAR ROBERT_

Experimental short film playing with light and how it appears through reflections, lenses, and distortions