Laura Huertas Millán
Nacimiento : , Bogota, Colombia
Historia
Laura Huertas Millan is a French-Colombian filmmaker and visual artist, whose practise stands at the intersection between cinema, contemporary art and research.
Selected in cinema festivals such as the Berlinale, Toronto International Film Festival (TIFF), Rotterdam International Film Festival, New York Film Festival and Cinéma du Réel, her films have earn prizes at the Locarno Film Festival, FIDMarseille, Doclisboa and Videobrasil, among others. More than twenty retrospectives and focus of her work have been organised around the globe, in cinematheques such as Toronto ́s TIFF Lightbox, Harvard ́s Film Archive or Bogota ́s cinematheque, and leading film festivals as Mar del Plata and Rencontres du Documentaire de Montreal.
In the art field, her latest solo exhibitions were held at the MASP Sao Paulo, Maison des Arts de Malakoff and Medellin ́s Modern Art Museum. Her films have also been exhibited and screened in art institutions (Centre Pompidou Paris, Jeu de Paume, Guggenheim Museum NY, Times Art Berlin) and biennials (Liverpool, FRONT Triennial, Videobrasil, Videonnale). They are part of private and public collections (Kadist, CNAP, Banco de la República de Colombia, CIFO, FRAC Lorraine, and others).
Huertas Millan holds a practise-based PhD on “Ethnographic Fictions” developed between PSL University (SACRe program) and the Sensory Ethnography Lab (Harvard University). She works as an educator in academic and alternative spaces. Since 2019, Huertas Millan is part of a research-based duo with curator and writer Rachael Rakes on critical anthropology and the aesthetics and politics of the encounter.
Director
El ritual de fabricación del polvo de coca verde (llamado mambe o «Jiíbie») revela un mito ancestral de parentesco. En la comunidad Muiná-Muruí, la planta de coca no es un producto, sino un interlocutor sagrado, el corazón palpitante de un cuerpo colectivo.
Director
A voyage into the labyrinthic memories of a Uitoto man, who worked for the drug Lords in the Colombian Amazon back in the 80s. Following his path between the forest and the ruin of a Narco´s mansion imitating the Carrington mansion in the soap opera Dynasty, the film unfolds the hallucinatory account of a near-death experience.
Director
“Accompanied by the voice-over of Jeny – a young trans girl filmed during her rehab –, the camera wanders around building 303, Bogota’s architectural icon. A chance encounter: a few years back, when the filmmaker’s father asked her to film the architecture faculty where he had taught, an accident with her 16 mm film resulted in a superimposition of the portrait of Jeny. The building, disused at the time of the shooting, is not only interesting for its Bauhaus style copied by German architects in 1964, but also because it has been the centre of many student uprisings. During the generation of the filmmaker’s father, it was a hotspot of the activism repressed in bloodshed across all of South America. On one side a survivor (heroin used as an escape to elsewhere), who turned his tattooed body into a work of art, and on the other, the political slogans “tattooed” on the brick walls – open-air history books that were demolished in 2015." (Charlotte Garson)
Sound Recordist
Produced out of Harvard's Sensory Ethnography Lab, Laura Huertas Millán's quietly masterful La Libertad follows a group of matriarchal weavers in Mexico, formally mimicking the examination of an object through subtle shifts in scale and space.
Writer
Produced out of Harvard's Sensory Ethnography Lab, Laura Huertas Millán's quietly masterful La Libertad follows a group of matriarchal weavers in Mexico, formally mimicking the examination of an object through subtle shifts in scale and space.
Editor
Produced out of Harvard's Sensory Ethnography Lab, Laura Huertas Millán's quietly masterful La Libertad follows a group of matriarchal weavers in Mexico, formally mimicking the examination of an object through subtle shifts in scale and space.
Director of Photography
Produced out of Harvard's Sensory Ethnography Lab, Laura Huertas Millán's quietly masterful La Libertad follows a group of matriarchal weavers in Mexico, formally mimicking the examination of an object through subtle shifts in scale and space.
Director
Produced out of Harvard's Sensory Ethnography Lab, Laura Huertas Millán's quietly masterful La Libertad follows a group of matriarchal weavers in Mexico, formally mimicking the examination of an object through subtle shifts in scale and space.
La sobrina
Retrato de una familia protagonizado por la propia directora, su tía y su madre, en el que de forma muy sutil y contenida nos vamos acercando a los conflictos que rodean a estas mujeres y que tuvieron su detonante en el intento de suicidio de Antonia, la tía, una cantante de ópera caída en depresión.
Writer
Retrato de una familia protagonizado por la propia directora, su tía y su madre, en el que de forma muy sutil y contenida nos vamos acercando a los conflictos que rodean a estas mujeres y que tuvieron su detonante en el intento de suicidio de Antonia, la tía, una cantante de ópera caída en depresión.
Director
Retrato de una familia protagonizado por la propia directora, su tía y su madre, en el que de forma muy sutil y contenida nos vamos acercando a los conflictos que rodean a estas mujeres y que tuvieron su detonante en el intento de suicidio de Antonia, la tía, una cantante de ópera caída en depresión.
Writer
A journey upstream the Amazon river where Modernist constructions have been abandoned like the memories of an engulfed civilisation of the future. A science-fiction documentary evoking the colonization of nature, former utopias in the Latin America forests and their cohabitation with the present.
Editor
A journey upstream the Amazon river where Modernist constructions have been abandoned like the memories of an engulfed civilisation of the future. A science-fiction documentary evoking the colonization of nature, former utopias in the Latin America forests and their cohabitation with the present.
Director
A journey upstream the Amazon river where Modernist constructions have been abandoned like the memories of an engulfed civilisation of the future. A science-fiction documentary evoking the colonization of nature, former utopias in the Latin America forests and their cohabitation with the present.
Sound Designer
In a film, meeting a strange tribe often starts with the plunging view from a building necessary to the journey. The architecture of Jean-Pierre Secq dubbed the noise of the waves washes over us in this way. However, to open it, the construction was massive and still, unfolding the three concrete wings of this equatorial greenhouse in Lille. This essay on the conquest of America assumes its own contradiction, underlined by a montage of texts by colonisers: Bernal Diaz del Castillo, Hans Staden, Jean de Léry, Charles de la Condamine and the use of costumes and masks inspired by Brazilian modernism. The discovery of a new world conducted in slow motion listening to the minutes of an unlikely trial of the invaders. The most restrained of movements, surplus, to make the most of rediscovering the New World. Gilles Grand, FID Marseille catalogue, 2012.
Editor
In a film, meeting a strange tribe often starts with the plunging view from a building necessary to the journey. The architecture of Jean-Pierre Secq dubbed the noise of the waves washes over us in this way. However, to open it, the construction was massive and still, unfolding the three concrete wings of this equatorial greenhouse in Lille. This essay on the conquest of America assumes its own contradiction, underlined by a montage of texts by colonisers: Bernal Diaz del Castillo, Hans Staden, Jean de Léry, Charles de la Condamine and the use of costumes and masks inspired by Brazilian modernism. The discovery of a new world conducted in slow motion listening to the minutes of an unlikely trial of the invaders. The most restrained of movements, surplus, to make the most of rediscovering the New World. Gilles Grand, FID Marseille catalogue, 2012.
Writer
In a film, meeting a strange tribe often starts with the plunging view from a building necessary to the journey. The architecture of Jean-Pierre Secq dubbed the noise of the waves washes over us in this way. However, to open it, the construction was massive and still, unfolding the three concrete wings of this equatorial greenhouse in Lille. This essay on the conquest of America assumes its own contradiction, underlined by a montage of texts by colonisers: Bernal Diaz del Castillo, Hans Staden, Jean de Léry, Charles de la Condamine and the use of costumes and masks inspired by Brazilian modernism. The discovery of a new world conducted in slow motion listening to the minutes of an unlikely trial of the invaders. The most restrained of movements, surplus, to make the most of rediscovering the New World. Gilles Grand, FID Marseille catalogue, 2012.
Director
In a film, meeting a strange tribe often starts with the plunging view from a building necessary to the journey. The architecture of Jean-Pierre Secq dubbed the noise of the waves washes over us in this way. However, to open it, the construction was massive and still, unfolding the three concrete wings of this equatorial greenhouse in Lille. This essay on the conquest of America assumes its own contradiction, underlined by a montage of texts by colonisers: Bernal Diaz del Castillo, Hans Staden, Jean de Léry, Charles de la Condamine and the use of costumes and masks inspired by Brazilian modernism. The discovery of a new world conducted in slow motion listening to the minutes of an unlikely trial of the invaders. The most restrained of movements, surplus, to make the most of rediscovering the New World. Gilles Grand, FID Marseille catalogue, 2012.
