Jorge Suárez-Quiñones Rivas

It's summer in Ubuyama-mura. Masae goes around the mountain village from house to house collecting songs. She looks like she is looking for something.

A day of practice.

A day of practice.

A day of practice.

A day of practice.

A complete circle around the solar year.

An exploration of how violence is uniquely confronted in films by Jean-Marie Straub and Danièle Huillet: By abandoning the screen.

An exploration of the cinematic infusion of empty spaces with the ghosts of memory, using the films of Ozu, Ford, Akerman, and more.

Excerpts from excerpts, a continuous work-in-progress compilation. (…) Somewhere, fiction was possible.

In Between Solstices (II/II)

cartridge #10 from ‘Twelve Seasonal Films’ – Super 8, 18fps, silent / Spain, Japan

cartridge #9 from ‘Twelve Seasonal Films’ – Super 8, 18fps, silent / Spain, Japan

Uno de los leitmotiv que articula la fulgurante filmografía de Jorge Suárez-Quiñones es la autoconsciencia del tiempo. Sus películas consiguen reflejar la materialidad del flujo vital a través de un ejercicio de observación intimista. In Between Solstices propone al espectador el descubrimiento de una realidad inadvertida: aquella que emerge cuando nuestra mirada se detiene, es decir, cuando se proyecta simultáneamente hacia dentro y hacia fuera, sin saber la imagen que quiere obtener del mundo ni de sí misma.

Here and there: everything is happening at the same time for Gimcheoul.

The understanding of domestic, cyclic time-space in Ozu Yasjirō’s cinema takes material form in Hara Setsuko, “The Eternal Virgin”, woman-actress-character-myth constantly alone in the frame, accomplice in an attack against the classical understanding of raccord.

Llegan a Amijima. Será el lugar de su muerte.

Llegan a Amijima. Será el lugar de su muerte.

Llegan a Amijima. Será el lugar de su muerte.

A man in past-present continuous.

A man in past-present continuous.

A man in past-present continuous.

A man in past-present continuous.