Luz Marina

The Diver

Abstract video short about a nameless "Diver"

The Alleged

This films fractures homogeneous conceptions of white masculinity through exploring the ways class produces different valences of whiteness. To do this, Andrea Slane presents a barrage of tabloid television stories of "real-life" violence and tragedy as she works through her own expressions of grief, guilt, anger and regret around the circumstances of her 20-year-old brother's suicide.

Uranium Hex

A memory-using location film of a stay with a uranium mining community. Using a kaleidoscopic array of experimental techniques, this film explores uranium mining in Canada and its destructive effects on both the environment and the women working in the mines. A plethora of images ranging from the women at work to spine-chilling representations of cancerous bodies are accompanied by unnerving industrial sounds and straightforward information from some of the women.

Adrift

"Adrift" is shot on the arctic island of Spitzbergen and in Norway. It combines time-lapse photography with stop-motion animation of the landscape. Through camera-angles and framing the film gradually dislocates the viewer from a stable base where one loses the sense of scale and grounding.

Blockbuster Where a Giant Monster Destroys a Town

In a village of Cuba devastated after trying to imitate the north american suburb model, a sound recorder tries to tape sounds for an incoming blockbuster about a giant monster that destroys a whole town.

We're No Animals

A Hollywood actor grows tired of making the same corporate movies, so he moves to Argentina to find more experimental and meaningful work.

Age 12: Love with a Little L

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.

Tuesday Darkness

Evolution and change are usually observed within a positive sphere, nevertheless and according to the history of humanity, we are stubborn beings reluctant to change and the unknown. I wrote this short with that thought in my mind. Mardi Darkness shows a small glance in the life of a recent graduate that resists to change, the possibility of happiness and above all the acceptance of his new life. Far away from his family, from what he once called home and his youth. The short film was made in an experimental fashion. It was initially framed as a sequence shot but it was just evoking melancholy and the chaos went too unperceived. For this reason, I decided to use a split screen technique to tell the story in a more chaotic and voyeuristic manner. It is as though it was seen through monitors that loop the life of a man who refuses to change, remaining so until it merges with the darkness of the screen and the unexplored.

aletheia

An introduction to Kim-Trang's video series on metaphorical and physical blindness, ALETHEIA explores the interconnected issues of cosmetic surgical alteration of the eyelids, technology, language, race and gender. This video is a highly graphic examination of dominant notions of normalcy, beauty and their effects and impositions on the body. Part of the Blindness Series.

Letters from a Window

Letters from a Window is clearly structured. On the visual level it consists solely of paused film frames, hard cuts of different lengths. The stunning, rapidly changing images appear like brief impressions of a world that has been brought to its knees by a faceless power. The views of people, places, and objects constantly change. On the sound level, in counterpoint to the staccato of the dystopian flood of images, we hear a warm, calm woman’s voice, lovingly and wistfully addressing one “N.”, who might be a man or a woman, in a continuous flow of words. She refers directly to the images, as if she could see them at the cinematic window as she speaks.

A Messenger from the Shadows (Notes on Film 06 A/Monologue 01)

Thanks to his myriad film roles, Lon Chaney is known as “the man of a thousand faces,” and you could say that the early horror era never beheld a figure more intriguing. Yet because of his numerous transformations, his face never became as iconic as that of, say, Boris Karloff. Accompanied by a soundtrack from Bernhard Lang, this “re-imagination of shots” taken from Chaney´s forty-six surviving films offers a beguiling excursion into the history of film. The director reveals surprising associations, while highlighting the enduring magic of works which are now more or less forgotten.

Le Temps de cerveau disponible

Cruelty, psychological and sexual violence, humiliations: reality television seems to have gone mad. His debut in the early 2000s inaugurated a new era in the history of the audio-visual. Fifty years of archives trace the evolution of entertainment: how the staging of intimacy during the 80s opened new territories, how the privatization of the biggest channels has changed the relationship with the spectator. With the contribution of specialists, including philosopher Bernard Stiegler, this documentary demonstrates how emotion has made way for the exacerbation of the most destructive impulses.

Night Shift

After a brutal robbery, a Shopkeeper sets out to get back what was stolen from him: his pride. Featuring a unique blend of fiction and reality.

Smiles

A short film by John G. Avildsen.

Lullaby Story

A young model falls victim to a sadistic cult of sexual slavery, snuff tapes and black magic.

Álbum de videos 2013-2014

19: Passage

19: Passage explores the dual possibilities of accentuating video flicker and video grain through rephotographing imagery off of a small portion of a cathode ray tube monitor.

Bringing Up The Brontës

The Brontë Sisters meet the world of reality television.

Stunned, I Remain Alert

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.

Notes on Film 01 Else