Based on a trove of photographs made by Koen Wessing, who bore the risk of documenting the streets of Santiago, even the dreaded stadium, newly filled with police backing the coup. When freshly elected president Allende began sharing resources with the poor, the reaction shot from Washington was predictably swift. One of Nixon’s oldest financiers worked for Pepsi, and coalmining interests were not far behind. In order to protect shareholders, the CIA put their favourite general in charge, a dictator who pipelined money into the American dream. But resistances old and new continued to grow, including interventions by radical feminist architect Josefina Mena Abraham, a legacy of upholding the commons that persists to this day.

To undersatand the sacred as a deity spread over the landscape it is required to listen, to get to the right place and perform all necessary actions: a voice will rise, it will have something to say and it will be impossible to counter it. Human beings are the anomaly and the consequences are unavoidable. In "Le lugement" Baroni relies on ancient Greece and its oracular traditions to touch the deepest fears of our time, fears about the end of the world as a disaster caused by our very own behaviours. Between the distant past and nowadays, nature still holds the power to connect us all in her silence, which is never complete, with the peremptoriness of its presence: this is where human beings - presented as four women from different generations - can try to find a new repositioning by witnessing those presences that elude our calculations.

To honor the memory of his father who passed away in 2019, Martin Del Carpio opts for the medium of film once again, and delivers his most lyrical work to date. At once deeply personal, carefully veiled in a delicate fabric of pure emotions, and absolutely immersive in its dreamlike, mysterious beauty, ‘The Dark Forest’ transmutes its author’s innermost life into an admirable piece of introspective cinema. Opening with Dante Alighieri’s quote which inspired the title, it takes the viewer on a short, yet transcendent journey through the bushes of symbols and trees of thoughts, in the company of a lovely (and cunning?) forest spirit embodied by Carly Erin O’Neil whose poise and grace translate as otherworldly. The enchanting imagery that we see on our way is the result of another tight-knit collaboration between writer / director Del Carpio and DoP / editor William Murray, whereby the dense atmosphere of meditative seclusion is complemented by Dan Shaked’s ruminative voice-over and M. Nomized’s haunting score which occasionally gives off some strong ‘classic Hollywood’ vibes...

18 years after Kurt Kren produced his third film 3/60 Bäume im Herbst [3/60 Trees in Autumn], he shot his masterpiece 37/78 Tree Again. 18 years after I created my third darkroom film L’Arrivée (an homage to the Lumière brothers and their 1895 L'Arrivée d'un train), I embarked on Train Again. This third film in my “Rushes Series” is an homage to Kurt Kren that simultaneously taps into a classic motif in film history. My darkroom ride took a few years, but we finally arrived: All aboard!

Light is information, a signal more lasting than recollection. If there’s anyone out there to receive the message. Isolated in a sealed apartment, a lone observer regards an outside world outside become increasingly unreal or unreachable. Archaic illuminations, old slides and the pin-lights of the camera obscura, crawl across the walls. Connections fray. Time loses meaning. A science fictional essay film, or its inverse. A rumination on optics, memory, data, and endings.

In the artificial environment of the paddy field, water—an element of nature—follows the rules of the artificial. As a result, nature is made abstract, giving rise to a new form of beauty distinct from the natural state. For the twelfth film in the series “The Stream”, I did not limit the stream to liquids, but extended it to include the air. I shot wind, flames, smoke and clouds as motifs representing the air. I incorporated aerial shots using a drone as a way to express the wind more visually. When I shot the reeds on the banks of a big river from 80m above the ground, the reeds waved in the wind like waves on the sea. As for the flames, I shot how they created a flow of air that was accompanied by smoke. The smoke converges with the clouds in the sky and becomes rain, which in turn becomes water on the ground. In this series, I have focused on the beauty of nature juxtaposed with the artificial. In this work, I chose the reed fields as a place that is maintained and managed by humans for the production of building materials and daily products. The beautiful landscape of the paddy fields is also a place for the efficient production of food. In this way, I have expressed “stream” as a symbiotic cooperation between humans and nature.

Against the backdrop of cosmic history, everything crumbles to dust anyway. An unusual view in the political West of the fleeting coincidence of our own existence. This amalgam of theoretical and aesthetic approaches-at least if it should come loose one day-should not be swallowed up. An orc of industrialisation gapes before us. Perato-optionality can be so cruel. Besides itself, capitalism also naturalises gender stereotypes and their diabolical constraints. The radical self-criticism of bourgeois society has long since run aground. What remains is the hope for an intellectual first-pass effect, which ends after the complete metabolisation of the film to question one's own position as a viewer.