Manuela de Laborde

Ficciones is a spell that conjures representations as if imagined from the perspective of the plant world, that which invents prior to consciousness, as a thinking before thinking (M. Marder). Ceramic sculptures were gardened for a year letting plant life grow on them as their skin. Four super-8 cameras were made into a mobile, thereby also filming the process and its shared motion. To embrace the filmed material as a fictional construction, it was optically printed and altered; to accompany the notion of the sculptures as possible chests, containers of heart, vocal sounds were recorded with Camila de Laborde and weaved into the film.

A FICUNAM commission for four directors, Liminal seeks to play with poetic affinities between film and music. Moving across aesthetic and generational differences, the film-makers explore this relationship through four distinct stories as to context and imaginary.

Abstract 16mm work documenting a group of artists immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. A diptych of the filmmakers' subjective style, it uses colour and black-and-white to create two separate dreamlike and fragmented expressions of a single event.

Abstract 16mm work documenting a group of artists immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. A diptych of the filmmakers' subjective style, it uses colour and black-and-white to create two separate dreamlike and fragmented expressions of a single event.

Abstract 16mm work documenting a group of artists immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. A diptych of the filmmakers' subjective style, it uses colour and black-and-white to create two separate dreamlike and fragmented expressions of a single event.

Abstract 16mm work documenting a group of artists immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. A diptych of the filmmakers' subjective style, it uses colour and black-and-white to create two separate dreamlike and fragmented expressions of a single event.

Azúcar y saliva y vapor explores minimalism and affection by providing a counter proposal, the cinematographic desire to be all-encompassing and three-dimensional, at times to a nearly suffocating degree.

Luis Carricaburu executes the movement languidly but at the same time with emphasis, with generous patience, towards the camera, as if he feared that the negative would not be able to record it. The movement has been stripped of its perpetual combustion. Abstract gestures from their surroundings recombine to produce a language without content, ghosts of something that, elsewhere, is still alive at the same time.

Manuela de Laborde's experimental film, 'As Without So Within', explores the possibility that the surface of things is an entity worthy of is own depth for itself and in itself, demanding to be seen and confronted as such. The project accepted what is visual as emotion the moment the images were created with a focus on the sensorial.

Manuela de Laborde's experimental film, 'As Without So Within', explores the possibility that the surface of things is an entity worthy of is own depth for itself and in itself, demanding to be seen and confronted as such. The project accepted what is visual as emotion the moment the images were created with a focus on the sensorial.

Manuela de Laborde's experimental film, 'As Without So Within', explores the possibility that the surface of things is an entity worthy of is own depth for itself and in itself, demanding to be seen and confronted as such. The project accepted what is visual as emotion the moment the images were created with a focus on the sensorial.

Manuela de Laborde's experimental film, 'As Without So Within', explores the possibility that the surface of things is an entity worthy of is own depth for itself and in itself, demanding to be seen and confronted as such. The project accepted what is visual as emotion the moment the images were created with a focus on the sensorial.

Manuela de Laborde's experimental film, 'As Without So Within', explores the possibility that the surface of things is an entity worthy of is own depth for itself and in itself, demanding to be seen and confronted as such. The project accepted what is visual as emotion the moment the images were created with a focus on the sensorial.

En la ciudad de Santa Teresa, ubicada en la frontera entre México y Estados Unidos, el investigador Juan de Dios Martínez -mitad periodista, mitad detective- trata de conocer la verdad sobre una serie de asesinatos de mujeres. Si esta es una película sobre la frontera entre dos países, también lo es sobre romper los límites del cine, sus fronteras entre ficción y documental, las convenciones del relato y de las estructuras. Asistimos por lo tanto a una sucesión de historias que funcionan entre sí con conexiones a veces evidentes, a veces secretas, a veces sensibles, a veces sorprendentes Una ficción sobre la realidad de la frontera mexicana.

Intimate play locating the phenomenon of animation; once the hand comes in touch with the object, the other. La araña (Spider) to my hand is what my hand is to the spider. A duet, a revelation of intention, while leaving the point of inception unlit.