SHORT FILMS

MUÑE

I know how to fix things!

USA, 2019, 16mm, 15 min
Written, directed and produced by Catalina Jordan Alvarez in her hometown

CAST: Elizabeth De Razzo (Eastbound & Down, The Greasy Strangler, The 33), Clare Gundersen, Estela Ingles, David Roby and Grace Holtz

CREW

Producers: Rebecca Feldbin & Elizabeth De Razzo
Assistant Director: Rebecca Feldbin
Director of Photography: Michael Wellenreiter
Assistant Camera: Brian Branam
Sound: Althea Mengxi Rao
Production Design: Grace Holtz
Music: Courtesy of Dandelion Fiction (a former project of Daniel Fishkin's)

BIO

Catalina Jordan Alvarez (USA/Colombia) grew up in rural Tennessee with a Colombian mother and an American father and in her early career studied Experimental Theater in New York City and Film Directing in Berlin.

Her narratives explore the cultural and composed movements of bodies across social and geographical boundaries. Ranging in genre from "Bergfilm" to science fiction and deriving from literature, community research, and gender studies, her films have screened at over forty film festivals, including Slamdance, Los Angeles, New Orleans, and Palm Springs and at venues including The Museum of the Moving Image, the San Diego Art Institute, and ArcLight Hollywood.

Her publication, “Towards Another Cinema” (Cinephile, issue 11.3, 2017) analyzes the creative strategies for portraying non-western characters to a western audience, employed by filmmakers Ulrike Ottinger and Kidlat Tahimik, in their fantasy ethnographies, Joan of Arc of Mongolia and Perfumed Nightmare. Catalina was recently a Fellow at the 2018 Flaherty Film Seminar and a Resident Artist at Flux Factory in Queens. She is currently a Visiting Assistant Professor of Media Arts at Antioch College in Yellow Springs, Ohio.

TRENZACIÓN

trenzacion_.png

In Trenzación, we address identity processes from different forms of knowledge production and different holders of intelligence such as nature, body, traumas and dreams that are capable to absorb, generate and express continuous transformation. We consider hair and mostly braided hair as a medium that inspires us to new ways of knowledge production, to reflect on processes of transformation, to rethink on its social and political implications and to connect with our indigenous ancestral heritage. In this work we inquire into the concepts Nepantla by Gloria Anzaldúa and Ch’ixi by the Bolivian sociologist Silvia Rivera Cusicanqui.

CREDITS

Camera: Verena Melgarejo
Camera assistant: Belén Resnikowski 
Edition: Maque Pereyra
Concept & performance: Verena Melgarejo & Maque Pereyra

BIO

Verena Melgarejo Weinandt studied at the Academy of Fine Arts in Vienna and at the Instituto Universitario Nacional de Bellas Artes in Buenes Aires. She currently writing her master thesis to a colonial contextualisation and decolonial critique of white queer art. Her artistic practice is interwoven with latin american, decolonial and feminist theory and was especially formed by works of Maria Lugones, Yuderkys Espinosa und Gloria Anzaldua. She works in photography, video performances, collages, screen printing and installations and created two alter egos, in form of “Pocahunter” und “Bolita Berlinesa”.

In 2015 she was awarded with a kültür gemma! Fellowship at the city library of Vienna, during which she will focus on the works of Anzaldua.

Maque Pereyra is a Berlin based artist, performer, dancer and spiritual activist. In 2018 she finished the MA SoDA program at HZT. A DAAD scholarship in the field of performing arts was granted to her from 2016 until 2018. In her home country, Bolivia, she obtained a BA degree in Psychology in 2014. Her work was prized two times (2013-2014) with the arts award “Premio Plurinacional Eduardo Abaroa” and was shown in different festivals and venues from: Bolivia, Perú, Argentina, Germany, Mexico, Austria, Poland, Croatia and Norway.

She is currently invested in spreading the practice of YOGGATON which is a movement practice she developed, that aims to work at a physical, spiritual, mental and emotional level under the guidelines of the awakening and healing of sexual energy that is creative energy that deserves to be acknowledge and shared in a respectful, loving and consensual way.

TRAVESSIA


With poetic language, Travessia searches for the photographic memory of black families. The film adopts a critical stand in the face of the stigmatization and the near absence regarding the portrayal of black people.

Production credits
Directed, written , produced, edited, and audio capture by Safira Moreira
Production assistant: Caíque Mello and Tuanny Medeiros
Director of photography and camera operator: Caíque Mello

BIO

Safira Moreira is a black woman from Bahia. She has written, directed and edited Travessia (2017), her first short-film, which has been distributed in Vitrine Petrobás sessions. Travessia has been screened at many national and international festivals and it was featured at the opening of the Rotterdam Festival in 2019. She has also worked as photography director for the short-film Eu, minha mãe e Wallace, and feature films Hixikanwe, and A Matéria Noturna.

Moreira is currently working on writing and directing the documental series “Iyas Idanas - Mulheres da Cozinha”.

CEVICHE

Ceviche is an experimental film which aims to reveal the hidden emotions behind meal preparation. Six women from different generations are assigned specific cooking stations and tasks, collectively preparing a bowl of shrimp ceviche. They glorify process over product, exposing the underworld that hides inside a ceviche cart.

CREW

Directed, produced, and edited by Doménica García
Director of photography: Paula Cury
Production designer: Noor Bseiso

BIO

Doménica García es is an Ecuadorian video and performance artist based in New York.

She spent her early years in Mexico City and moved to New York, in order pursue her Filmmaking studies at the School of Visual Arts.
Her work dives into a process of introspection, deconstructing the personal and discovering the universal. With the use of a hyperbolic language and the juxtaposition of the radical and the ordinary, she gives greater relevance to the day-to day experience.

TACTICAL SCARCITY

Still form  Tactical Scarcity

Still form Tactical Scarcity

Tactical strategic

Scarcity lack of

What happens when the psychological phenomenon of Scarcity seeps into all areas of our lives?

This lo-fi performance piece explores survival under capitalism. Through body movement exploration we visually see how the restriction of popular production works hand in hand with artificial abundance in order to form a mentality of scarcity.

credits: Made with support from Alonso Gorozpe and the East Harlem Culture Collective Studios, & XFR collective.

BIO

Aru Apaza (she/they) is an interdisciplinary artist who favors working in performance, installation, and analog film media. Based in Lenape territory, Aru is Aymara, connecting her to the sacred lands of so called Bolivia. Currently, Aru explores late stage Capitalism through the lens of a space ndn, portraying the myriad of experiences surrounding Urban Indigeneity. Aru's work is situated in the crux of modernity and traditional knowledge, placing the two in a sometimes uncomfortable dialogue.

Aru works at the American Indian Community House and is the curatorial resident at Abrons Arts Center, curating a 3 day indigenous arts festival on Sept. 5-7th.