New Woman

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.

"A fisherman, dark-skinned and shirtless, sits in a boat on a quiet river and, before long, catches a fish. The fish gasps for air and the fisherman holds it to his chest until it dies. This sequence—performed by a series of fishermen, of various ages and using various styles of capture—is the spine of the work, interrupted by passages of quiet natural beauty; one shot is a steady, stately pan through scores of trees and empty air behind." - Vinson Cunningham

Butterfly as verb. The monarch migration and an unearthed cassette tape correspondence form a storm speaking towards motherhood, loss, expectation, care and legacy. An elegy. An ode to uncertainty. A cry for radical optimism and a reordering of splendor.

In an abandoned shopping center outside of Cleveland, the story of the last remaining grocery store is told through recent google reviews.

Set in Charlottesville during the early 1990s, "Pride" follows an aspiring writer as she finalises stories for the latest issue of "Pride", a student run newspaper at the University of Virginia. Over a hectic two-day period, she puts the finishing touches on the upcoming issue. Despite the looming deadline, she moves with a calm confidence.

Drops of fire that create a universe of magmatic asteroids. Liquid and gravitational reality. Cosmic energy. Atomized Rhythm. Neurons of a liberated unconscious. Elimination of the idea of "soul" as "everything", reducing it to the condition of units of energy in perpetual process, elementary particles, without duration, that arise in perfect dependence. The "I" as a stream of units of force in ceaseless becoming that procures the illusion of an entity. Karmic chain. The idea that eternity resides in the transitory, the eternal belongs to it instantly. Eternity not as infinite duration but as absence of temporality. Universe of a mobile, procedural, relational and interactive nature of everything that exists. Here the "object" is conceived as something that is constituted, completed, lost and recovered with the vibrating rhythm of a universe in constant production.

A tale of 2 passages within the Spirit house. This is the first in a series that looks at the places we find our spiritual presence augmented, inflamed, or simply acknowledged.

Documentary on the interdependence of the world of the living and the dead, and 'the infernal influence on the thoughts and actions of living people.

(Always) Next to Me is a 16mm film that pairs abstract sequences of plants developed directly on the film emulsion with intertitles briefly describing what was going on for me personally at the moment the plants were collected. I started the film at the beginning of the pandemic, just after I found out I was pregnant for the first time in April 2020 and finished it just before the birth of my baby in December of the same year.

Other than the ocean, the rest of the planet was bathed in purple, which was due to the colour of the vegetation. The change in the sun’s radiation had probably caused the plants to evolve as they adapted to the new light.

In 1967, experimental filmmaker Jorgen Leth created a striking short film, The Perfect Human, starring a man and women sitting in a box while a narrator poses questions about their relationship and humanity. Years later, Danish director Lars von Trier made a deal with Leth to remake his film five times, each under a different set of circumstances and with von Trier's strictly prescribed rules. As Leth completes each challenge, von Trier creates increasingly further elaborate stipulations.

Emerging from a period of withdrawal, a social recluse or ‘hikikomori’ relates her inner experiences against the backdrop of an illuminated and restless urban environment that never sleeps.

Sistiaga painted directly on 70mm film a circular (planetary?) form, around which dance shifting colours in a psychedelic acceleration matched by the soundtrack’s deep-space roar and howl. - Cinema Scope

A watchman at an apartment complex in Assam, India, spends an ordinary evening. A surreal, expressionistic landscape unfolds.

As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.

Return to 'burn' only to find out you're already in that urn.

Sytratigraphies is a hyper kinetic masterpiece of a travelogue offering glimpses of scenes shot in your native Columbia, New York, Toronto and beyond. A female fantastic (Alexandra Gelis) knitting on the fly (subways, bankomats, beaches) and making audio recordings provides a throughline of sorts, as queer marriages give way to videogame palm trees, warm gatherings of friends are interwoven with public noticings, workers mostly, street hawkers and construction zones of the self. These lyrical interludes (in this movie the in-between is at the heart of the matter) are punctuated by rescanned YouTube interviews with authors/philosophers/scientists Jorge Luis Borges, Francisco Varela, Julio Cortazar, Beatriz Preciado and Gilles Deleuze. They muse briefly on creativity, exile, the biopolitics of the birth control pill, and the necessity of making mistakes in philosophy.

VORTEX TEMPORUM sinks into the temporality of an image, the one from an American university campus filmed by a webcam. These images from the University of Oregon were collected between August 2009 and June 2010.

Experimental projects carried out during scientific initiation - 2002 / UFRJ