Selección Oficial Mujeres / Programa 1

ULTRAcinema 2020

Del 13 al 22 de noviembre en línea desde Tepic, Nayarit

November 13th to 22nd, Online from Tepic, Nayarit

Morii

Morii is defined as the desire to capture a fleeting moment and to reminisce in an occurrence that may never repeat itself. This film was created as a woven reality of incidentals and hidden niches in the spirit of the word expressed through five different film vignettes that have been crafted with re-purposed archival print footage, Super 8mm print, and digital film.

Llegué bien

En los últimos años la inseguridad y los miles de feminicidios en México han orillado a las mujeres a una búsqueda de protección y precauciones que deben tomar para regresar a salvo a casa. "Llegué bien" es una pieza de apropiación que habla sobre cómo las mujeres utilizan medios a su alcance con la intención de cuidarse en un entorno violento.

Amalgama

Alcira y Henry son dos campesinos a quienes los une un gran dolor. Pasan tiempo juntos, aunque les signifique vivir momentos agobiantes: es la única forma que encuentran de calmar su tristeza. Alcira necesita perdonarlo. Henry necesita su perdón.

GIRLS GROW UP DRAWING HORSES

Society’s capitalist and consumerist views of women amount to little more than their views of horses. Their value is found not in their humanity, but in their appearance and their labor, and how each may be exploited. In Girls Grow Up Drawing Horses, these relationships and parallels occur to the narrator as she considers her grandma’s life as well as her own. Layers of animated colors, textures, and found footage explore these observations, the idea of healing family trauma, and the metaphorical significance of horses and women’s gender roles.

OYET I DET HØYE - THE GAZE FROM ABOVE

Selma travels back to the island where she grew up - a place she never really felt at home. Being there, Selma gets confronted with herself through old friends and past memories. The gaze she feels on her back, is it theirs, or her own?

The Stone Guest

The key figure of the Great October Socialist Revolution of 1917 in Russia was Lenin. After his death in 1924 Lenin’s image was immortalized in countless numbers of monuments in the Soviet Union and in the Soviet bloc’s countries. In her video, the artist refers to depicted in stone image of the Revolution leader based on archival materials and found footage. There is neither living nor dead Lenin in the film; only “the stone guest” become ingrained in Soviet people lives after his death. The "birth" of each new stone Lenin is accompanied by a special ritual with speeches and festivities before a vast assembly. After the collapse of the Soviet Union, the life cycle of the "stone guest" is coming to the end.

Capas XX

Un grupo de amigas a la hora del té, entre ellas dos antropólogas, reflexionan acerca de cómo los medios de comunicación muestran lo femenino.

High Tide, Low Tide (Something Red, Something Blue)

High Tide, Low Tide combines layers of 16mm and 35mm found footage films to create a lyrical journey to accompany the viewer into the depths of a dream of another life.

Carne de Internet

Carne de Internet es un video poema que reflexiona sobre la descorporeización que se da con la interacción en la internet, de la carne virtual en la que nos convertimos, esa masa amorfa aislada que recibe estímulos constantes de una pantalla llena de datos.