Luis López Carrasco

영화의 원제 ‘발견의 해’는 콜럼버스가 아메리카 대륙을 발견한 1492년을 지칭한다. 반면 현대 역사에서 ‘발견의 해’로 얘기되는 1992년은 바르셀로나 올림픽과 세비아 엑스포가 열려 ‘강국 스페인’으로서의 이미지를 다시금 내세운 해였다. 또한 무르시아 지역 산업 위기로 엄청난 규모의 노동자 시위가 일어난 때였으나 미디어는 ‘잔치’만을 기록하기에 바빴다. 영화는 1992년과 현재를 오가며 무르시아 시내 한 카페에서 다양한 연령대의 사람들이 나누는 대화를 기록한다. 일상 얘기부터 노동조합, 인종 차별, 파시스트, 독재로 이어지는 토론까지 카메라는 화자와 청자를 클로즈업해 보여준다.

영화의 원제 ‘발견의 해’는 콜럼버스가 아메리카 대륙을 발견한 1492년을 지칭한다. 반면 현대 역사에서 ‘발견의 해’로 얘기되는 1992년은 바르셀로나 올림픽과 세비아 엑스포가 열려 ‘강국 스페인’으로서의 이미지를 다시금 내세운 해였다. 또한 무르시아 지역 산업 위기로 엄청난 규모의 노동자 시위가 일어난 때였으나 미디어는 ‘잔치’만을 기록하기에 바빴다. 영화는 1992년과 현재를 오가며 무르시아 시내 한 카페에서 다양한 연령대의 사람들이 나누는 대화를 기록한다. 일상 얘기부터 노동조합, 인종 차별, 파시스트, 독재로 이어지는 토론까지 카메라는 화자와 청자를 클로즈업해 보여준다.

Tesa Arranz, a key figure in the 1980s Madrid scene and the lead singer of the Zombies, has painted over 500 portraits of outer-space creatures. Confronting the singer’s paintings with the memories of her youth, her poems and diaries, ALIENS depicts an emotional landscape in Spanish history where happiness, nightmarish experimentations and alienation walked hand in hand

Tesa Arranz, a key figure in the 1980s Madrid scene and the lead singer of the Zombies, has painted over 500 portraits of outer-space creatures. Confronting the singer’s paintings with the memories of her youth, her poems and diaries, ALIENS depicts an emotional landscape in Spanish history where happiness, nightmarish experimentations and alienation walked hand in hand

Hadji, a young man living humbly on the banks of the Ganges River and in desperate straits after losing all his possessions, is accepted as a disciple by a mysterious spiritual guide.

It is the year 2052, on Earth, in Spain, and the final days of almost everything. The city is a string of abandoned construction sites. Everyday there are fewer people and not all of them are human. A sheep costs four and a half million pesetas and you have to spend a lot of bullets to pay for one.

Back to the Future, Spain 1982: at a euphoric party, young people celebrate the election victory of the Socialist Party. López Carrasco stages the past with stunning precision and shows the future as a surprising result: well, the present.

Back to the Future, Spain 1982: at a euphoric party, young people celebrate the election victory of the Socialist Party. López Carrasco stages the past with stunning precision and shows the future as a surprising result: well, the present.

As they travel through the Isle of Bioko, Antonia tells Pilar stories related to the Spanish colonial past. Carlos spends a hot summer afternoon in 2011 with his family. José and Diana talk about the future.

Tourist Route, Madrid.

"When they arrive, they didn't want to leave"

MATERIAL 1. adj. Having substance or capable of being treated as fact; not imaginary. 2. adj. Derived from or composed of matter. 3. adj. Having material or physical form or substance. 4. adj. Directly relevant to a matter especially a law case. 5. adj. Concerned with or affecting physical as distinct from intellectual or psychological well-being. 6. adj. Concerned with worldly rather than spiritual interests. 7. n. Artifact made by weaving or felting or knitting or crocheting natural or synthetic fibers. 8. n. Things needed for doing or making something. 9. n. Information (data or ideas or observations) that can be used or reworked into a finished form. 10. n. The tangible substance that goes into the makeup of a physical object.

1. n. A travelling company of enterteniers such as acrobats, clowns, trapeze artistes, and trained animals. 2. n. A public performance given such a company. 3. n. An oval or circular arena, usuallytented and surrounded by tiers of seats, in which such a performances is held. 4. n. A travlling group of prefessional sportsmen.

Summer afternoon.

Four iconic sequences in the history of Spanish cinema are aesthetically revisited. A strictly geographical search that places the camera in the very same spots where the shots of the original films were taken. No lighting. No audio edition. No actors. Just whatever there is fron of the camera.

An unfinished canvas apparently painted by Antonio López resists (does it?) the charges of weather and nature during a whole week. This week is shown four times from four different audiovisual perspectives which try to analyze the relationship between film author and landscape representation.