AQUA IMPROMPTU

Architectural distortions of the second city.

The long flights of spacecraft have been in the past, as well as the chronicle of accomplishments. Snatches of memory bring to us the fragments of those memories that are confused and do not leave a coherent and consistent trace. All in the past. But was it really ?!

From Angry Bible Thumpers to Infamous Hall H Lines, This is an Appropriated Video Essay Covering the Negative Changes that San Diego Comic Con Has Gone Through This Passed Decade Alone.

Mendieta, Ana: Burial Pyramide, Yagul, Mexico.

A day in the life of Swedish poet Karl Holmqvist.

A fascinating journey with Israel’s notorious provocateur, Prof. Amir Hetsroni, into the depth of his romantic and interpersonal relationships, alienated childhood, and public persona versus his self-identity.

Humans, Animals, Earth, Wind and Water, converge with the same energy of a filmic fire, which crosses and relates them. By the appropriation of educational images of 16 mm films, which in the past were used to educate us, Animal Within evokes a poetic collision between images of the human and the animal.

This documentary interweaves celluloid and voice recordings by Maya Deren, and colleagues who knew her firsthand: Jean Rouch, Jonas Mekas, Alexander Hammid, Cecile Starr etc. Maya Deren (1917-1961) was an experimental filmmaker. In the 1940s and 1950s she made several influential avant-garde films, such as Meshes of the Afternoon (1943). Images from this and her other work are used in this documentary. You can also hear her voice, as well as accounts by contemporaries such as Jean Rouch and Jonas Mekas.

This is one of those abstract animated films in which colored, richly textured light moves in a black, three-dimensional space. The pictures and the electronic score are unified in a strict structure made of three main sections which progressively develop three subsections. This film may look like it was made using computers or video to the uninitiated, but only animation and much optical printing are to be seen herein. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.

In the film we find some scrap of slow motion they see a Monica Vitti trying to cry, a meeting between Antonioni and Grifi, a film shot in the concentration camp of Auschwitz with a survivor who recounts those awful moments, a glimpse of Palestine today, Grifi's reflections on the prison.