REQUERIMIENTO

According to some specialists, the frieze of deers in the Lascaux cave would be the representation of a horde of deer swimming in a river or, according to another version, one same deer, the movement of the swimming being decomposed.

Brother Howie is a Jamaican Rastifari who dreams of the land of his ancestors: Africa. On a journey in search of his roots and his identity he travels through three continents and (with great humor and sensitivity) discovers the world and Africa.

A visual essay revealing social inequality as the silent sickness of COVID-19 lockdown America. To highlight the disconnect between the fantasy of Los Angeles and the lived reality for many of its citizens, a computerized voice gives a dispassionate monologue over imagery that explores the truth of a city after the tourists, luxury stores and entertainment are removed from the streets. Through silent vignettes, the film leaves us with images of homelessness, and comments on the shallowness of capitalism and the hypocrisy of multiculturalism.

An illusory meditation on the street culture of New York City, represented through a collage of overlaid events and characters that collide at chance during the filming, chemical development and digital scanning process. Through this method, the artist embraces accidents and coincidence in favor of uncontrolled artistic expression.

Inspired by a newspaper article about the plight of monarch butterflies, using found footage from four different sources, I edited, optically-printed, superimposed, scratched on, bleached and otherwise altered the film to highlight, lament and challenge the monarch butterflies’ dilemma. –Caryn Cline

Dreamy images, often in slow motion, stirred or stirring, filmed along the banks of the Seine. Close-ups of water, blurred outdoor shots, shadows and silhouettes of people. A phenomenological portrait of the city, in a joint project with Andrea Emonds, whose voice enhances synesthetic experience.

"This short, silent film, a gallery of shots put together like a jazz improv, uses many devices to affect the image that comes from the camera. I play with superimpositions, with drawing and scratching on the film, and layering over the camera images with texture and color. The result is a rather rhythmic, physical, playful event intended simply to happen as you watch it. The actual imagery of objects in a museum gallery, seen frequently throughout, was footage shot in the Colby College Museum of art in the 1960s." —Abbott Meader

A woman folds some pictures representing natural landscapes and place them into a real lanscape. Fiction and reality blur into each other.

In 1948, French singer Charles Aznavour (1924-2018) receives a Paillard Bolex, his first camera. Until 1982, he will shoot hours of footage, his filmed diary. Wherever he goes, he carries his camera with him. He films his life and lives as he films: places, moments, friends, loves, misfortunes.

When asked to make a documentary about her friend’s mother—a Parisian astrologer named Juliane—the filmmaker sets off for Montmartre with a Bolex to craft a portrait of an infectiously exuberant personality and the pre-war apartment she’s called home for 50 years.

A lyrical portrait of an excommunicated Amish woodworker struggling with spirituality, poverty, and life as an outcast from his strict, insular community.

Onde Nostre is a lifestyle documentary film that shows the peculiarity of the Italian surf scene and the beauty of this sport, even in a country that's not usually considered a top destination for catching waves. With this film we intend show the passion and high level of the Italian surfers. The film is shot mainly in 16mm and super 8 and only a small part is shot digital in order to emphasize the beauty of the landscape. The film has a romantic approach to surfing. Action has a great relevance, with slow motion segments and an emotional editing. Onde Nostre also shows Italian surfers lifestyles and the endless search for good waves in the Mediterranean sea.

Burford met Breer in February 1992 and filmed his actions. Breer manipulates some of his mutoscopes: he leafs through some cards of his film in the making, Sparkill Ave! A dome-shaped sculpture slowly moves across the space.

Chapter and Verse is an experimental documentary that traces the image legacy of Northern Ireland's recent troubles via its contemporary landscapes. The camera roves with fierce curiosity amongst the Orange Order Parades, the raging 11th Night Bonfires of Belfast, the wall paintings of Londonderry, empty border-lands, murder-sites, cemeteries, home interiors, town and city streets whilst exploring how the troubles are both revealed and concealed by the Northern Irish landscape. Interviews with a mix of Northern Irish politicians, religious figures and victims of the troubles, including Rev. Ian Paisley and Bishop Emeritus of 'Derry Edward Daly, combine in a cinematic study of the complex effects of Northern Ireland's conflict history suspended in language.

A 1963 timelapse recording shows the effects of air pollution during an entire day on Santa Monica Bay in Los Angeles. A machine interpretation of an unstable version of the original file is divided into slits and rearranged in time, giving rise to a time panorama that mirrors an uncertain, abstract future lying ahead of us.

Displaying the faces and voices of transgender youth, the documentary short shows the authenticity of queer and trans people living in Toronto, while simultaneously discussing the struggles for self-acceptance that people who do not conform to cisgender and heteronormative ideals of gender face. Andy Nguyen, trans director and film student, captures his trans friends in their natural state on 16mm film shot on a Bolex h16 camera. Accompanied by narration written and recited by Salem Rao, this film represents that trans people exist and this is what we look like. Regardless of the obvious everyday transphobia, trans people find community and uniqueness within each other and themselves.

HARD-CORE is a frank and irreverent documentary that asks the question, "what is hard-core?" Seedy, grainy, and fast-paced, this is a nostalgic look at an ephemeral moment in the history of a subculture: punk rock in San Francisco in the late eighties. Everyone from fucked-up teenagers to elderly Mexican tourists attempts to explain the allure and mystique of the scene. Filmed at SF's historical petting-zoo/theater/punk rock emporium The Farm.

Medellin. Tireless car traffic. In the margins of a society launched at top speed, some lurking engines shutdown to make a living; Jugglers at intersections, employees on breaks, whose precise and repetitive work mark the flow of time which is always repeated.

Starting from frame by frame in-camera editing, the film translates a nursery garden from Chillán into a filmic landscape, with a rhythm and structure coming from a personal relationship with color, light and occurrences that took place near the end of the summer at the Olaxis garden. This is the first part of a work which takes reference from Violeta Parra's poetry, created from flowers, plants and certain places of the Ñuble area.

Optically printed fragments of film I shot in the autumn months in Seattle. -JB This film was made in response to seeing some of Caryn Clines films. Caryn re introduced me to shooting my films outside. -JB