Short Film: MINE, 8min., USA, Dance

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A dance and music collaboration between sisters exploring a coal mining site from the 1920’s where an iconic structure called the Gronk still stands. Body based dance research and song writing were translated based on the mining history of this place. The sisters collected stories and myths on Peanut and Pershing Mine from elders in Crested Butte, CO. Sasha developed gestures and movement themes from the mining stories and Sophia created lyrics and music. The Gronk overlooks spectacular views of Paradise Divide in the West Elk mountain range. The sights are beautiful and popular for outdoor recreation; however sadly still toxic. The land has only partially recuperated from destruction. Mosses are the first step in ecological restoration of toxic mine sites. Very few mosses are growing here. After land violence, how is spirit of place honored?

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Short Film: TOM, 8min., USA, Experimental/Horror

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Experimental horror film studying a ‘Peeping Tom’ as he gathers footage and reviews his findings amidst a storm of psychedelic visuals.

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  • Film Type:
    Experimental, Short
  • Genres:
    Horror, Expermential
  • Runtime:
    7 minutes 51 seconds
  • Completion Date:
    June 9, 2018
  • Production Budget:
    2,000 USD
  • Country of Filming:
    United States
  • Film Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:

Short Film: FRANCISZKA, 8min., Canada, Dance

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1943, a revolt broke out at the Auschwitz-Birkenau concentration camp.
Among the resistants, a famous polish ballerina.
It is said that she disarmed a cruel SS officer with the simple grace of a ballet movement.
Only her story has survived until today.
Her name was Franciszka Mann.

Short Film: SILENT SCREAMS, 8min., Costa Rica, Experimental

5d3ee1f3c8 posterThe social mechanisms of control and surveillance govern how we view things and our bodies. In the same way, they have functioned as a method of exclusion, which for years has systematically silenced the voice of populations that have been victims of violence.
With this video art I seek to achieve a transgression and a rejection to those impositions through my active and non-passive perspective as an artist and a woman in a patriarchal society. The above can lead to questioning that viewing in public space and how the role played by the representation of women in the sexual construction of this society is examined.
At the beginning of the audiovisual, private space that appears and disappears is presented through the elements that shape still life art, which refers to contexts that could be interpreted from domesticity and, therefore, as a metaphor of oppression, and seclusion.
But, as the video art moves forward, the bodies transcend those limits and build public territories; spaces in which they unfold, sometimes mutating to amorphous brushstrokes that allow another view to serve as resistance.
In short, they are bodies of women who reject submission and impositions within the parameters in which they do not wish to live.
A question that is always in my work and with which I wish to conclude, is the one that Patricia Mayayo (2011) establishes when she enunciated: ¨What happens when the female character is viewed frankly and openly? What does the image of a woman who views mean in a patriarchal society? (p.208)