All Films in Competition

What is the human experience of war, narcissism and ecological destruction? Demi-Gods addresses these three dark aspects of humanity in the form of a musical and visual essay. It shows our worship of these dark forces, which have now become normalized and fetishized. A furtive look from us mortals at the mechanics of the dark demi-gods of our time; turned into a surreal sequence of sonic and visual transformations.

A site which once served as a slaughterhouse has become an environment to preserve the life of Brazilian cinema. Until the first fire arrived. And then another, and another. Hundreds of negatives lost due to a policy that negates preservation actions. The distant relationship between the Cinematheque of São Paulo, public neglect, and the fire are rescued in a film whose very function is to preserve the memory of this Cinematheque. (Carol Almeida)

Everything is in motion on the water surface. Scenes along a river that reflects our world.

“Dreaming in Aspect Ratio” is a hand-made diary film and experiment in disrupted stereoscopy; an adopted “found” home movie. A playful queer self-portrait in found dream memories.

An experimental documentary and Surrealist détournement,Bright colors collaged with black and white imagery of the joy of female friendships evoke dreaming and reverie; a lost queer childhood regained through the magic of cinema, disrupting typical self-portraiture and auto-ethnography.

Learning to walk is learning to touch.

Even the iconic Windows XP desktop background isn’t immune to water shortages in California.

Exploration of masculinity begins with the Minotaur, a mythical creature Picasso used to portray himself in his etching print series. The Minotaur goes through a violent struggle between being male and female. Finally, lines blur and boundaries of sexes disappear.

Faulty technology is a multimedia project that questions the potential of visual mutation based on technological glitches and accidents. It renegotiates the connections between dissociated fields: analogue vs. digital, still vs. moving image, body in presence vs. absence. It builds on decomposing the moving image medium that records fluid body movement back into the structural photographs, frame by frame, from digital to analogue: digital frame to printed material – here, an inkjet printer that shifts the basic images into a visual realm that is no longer recognizable within the initial visual frame. By looking into the anatomy of the medium and growing back into moving image, analogue slides back into the digital in a resulting hybrid that feels more like an “object”, a piece difficult to label as belonging to a particular field, bringing forth a version of reality that can only by seen through the glitched instrumenting technology.

Collaborations can be fruitful, fitful, and sometimes both. The opponent or obstacle is sometimes internal. This dance for camera piece is an exploration of a lifelong collaboration (and constantly shifting relationship) with my dance partner, Gravity. Mostly predictable, not always kind, I accept the challenge to dance with you again.